This Had Oscar Buzz - 100 Years, 100… Snubs! – Part Two

Episode Date: May 8, 2023

Our May miniseries continues this week with 20 more of our picks for the greatest snubs of Oscar history! As we march towards our pick for the single greatest snub of all time we’re talking about early 2000s emo music, Jessica Lange and Charlize Theron as bootable nominees, Beyonce’s trio of performances for nominated songs, … Continue reading "100 Years, 100… Snubs! – Part Two"

Uh-oh, wrong house. No, the right house. I didn't get that! We want to talk to Marilyn Hacks. I'm from Canada. I'm from Canada water. There are so many unforgettable movie images we have cherished and relived over the years. They've become as familiar and special to us as pages in our own family album.

Sometimes the scene in a movie becomes part of our lives. And as time goes by, those images remain to remind us of how deeply affected we were by them and continue to be. Hello, I'm Olivia De Havilland. And I'm Joan Fontaine. And welcome to the This Had Oscar Buzz Film Institute presents 100 years, 100 snubs. Every week on This Had Oscar Buzz, you hear us talk about a different movie that once upon a time had lofty Academy Award aspirations. But for some reason or another, it all went wrong. The Oscar hopes died, and we are here to perform the autopsy, usually.

But for this May miniseries, is we're doing something a little different. Every week in May, we'll be looking back and choosing the 100 greatest Oscar snubs of all time. Greatest you say, that's for us to decide. And we'll have special guests calling in to offer their choice for snub submissions. I am your host, Joe Reed. I am here, as always, with my sister, who's secretly, but not so secretly hates me. Chris Fiala, oh, Chris. We are noted for having a famous photo where one of us is heading towards an Oscar, and the other one is Selwyn. sure

or what was it no she she has her Oscar and is the other is seen scaveling what did Joan win for

Joan won for suspicion the hitchcock sure and the Olivia won twice right so she's got that

but after oh interesting so that's like the kind of billing where it's like the first one is low and the second one is high so you can read it

as as both ways yeah Are you saying Joan Fontaine was high safe? Listen, you brought that up. No, I'm just saying that Joan Fontaine can be like, well, at least I was first. And Olivia de Havelin can be like, at least I was twice. So they can each have their own little. I think Joan was first.

I'm pretty sure Joan was first because I think that's what pissed Olivia de Havelin off. And it's like their whole sisterly rivalry was very in the press, but also very real between them. But depending on what report you read, it was mostly Olivia de Havelin being again, asshole. Sure. Listen, we ended up standing Olivia de Havelin because she lived longer, which I feel like is perhaps the best revenge, but yeah.

We are, of course, on part two of our 100 years 100 snubs journey. Last week we gave you the first 20 plus two guest's choice options for some of the greatest Oscar snubs of all time. When we say greatest, we mean in our words. We are... Because we said so. We are the arbiters of our own list. It is our podcast, our rules. And so we are here today with 20 more choices. We've got some more guests lined up to offer their choices for 100 years, 100 snubs. And before we go on, though, Chris, I want to talk about our inspiration here, which is the AFI. 100 Years 100 Movies List, which aired on CBS in 1998. I'm like 99.9% sure it aired in the summertime

because that's like classic summertime programming, right? You could devote an entire weeknight out of your schedule to, you know, movie nerds. But it was sold as this American, it was like sold like the Kennedy Center honors kind of, right? Where it's like American cultural, this is your cultural duty. to sit here for three hours and watch this list. And honestly, like, in the days of, obviously, cable TV and HBO and all those sort of things were a thing in 1998, but network TV still held its sway. And so in these days where people did still kind of gather around the television and

watch, I remember this being an event. I can't remember whether I watched it with my parents or, like, I watched it and my parents were like also there. But like I definitely like had this date circled in the calendar and you, I was not going to miss this, uh, this special. I don't know if you being younger than me at the time had a little bit of a different experience. No, I mean, I, I definitely watched it. I definitely watched multiple of the AFI specials. And obviously this one did well enough for them to justify doing some of the sillier later ones like thrills, passions, I don't know if all of those got specials though

But there were multiple specials because this drew in enough But it also permeated a culture more than just like a special that aired on TV I remember a blockbuster having a huge thing for it where you know Yep Oh yeah I'm sure a lot of people watch that's seen I was gonna say I'm sure a lot of people took that as a Almost like a reading list but but for movies yeah Of course There was discourse at the time about Citizen Kane because we can't have a large cultural list without, you know, discourse being involved.

We talked a little bit about last episode about Fargo being the most recent entry, even only at 96 or something from 1996. And, you know, there was still even discourse of, was that too soon? Right. Pulp Fiction, I believe, was also on the list, too. Those were the two. Those two and Schindler's list. were, like, essentially the only, I think they were the only 90s movies, those, those three to make the list. But, um, yeah, it's, it was a moment. And it was something where I was already,

I think I had already, by that point, turned the corner towards like, movies are my thing. And, and this was a good way of, at a time when, you know, obviously the internet existed and IMDB existed, but like you you didn't have as many outlets to sort of permeate you with things like film history and there wasn't, you know, a film Twitter or, and I was still in high school. I think I was just out of high school when this aired. I mean, at this point, yes, IMDB existed, but people forget what early days IMDB was, you know. Well, and when you're still on dial-up internet, you know what I mean? You can't really like spend all day on the internet or like hours at a time.

Like you can only spend 20 minutes before somebody in your house picks. up the phone receiver unwittingly and kicks you off line, the scourge of early internet. So this was a great way of getting, in the span of one evening, this like, sweep of film history that was certainly not like comprehensive, but like as comprehensive as you could get for something at the time. And so this was probably the first time I had heard about some of these movies, certainly stuff like Bridge on the River Kwai or bringing up baby or, you know, an American in Paris or Shane, you know, this was, I was just about to go to college and that was the first time I would take film courses and anything. And that was, so before that, I, you know,

maybe had heard about like there was a movie version of MASH before the television show. And there was, you know, Ben-Hur was a movie that would be on cable a lot or something like that, certainly like The Sound of Music. But otherwise, there's a lot of movies in here that I imagine I saw, I heard about for the first time, watching this special. Even if you had heard of them, there were probably a lot that you hadn't seen. So the idea of this, especially as a young cinephile, is like, here's a chock full of homework that you have for, you know, the immediate future.

And to see what all of these other people in the culture said about it, what was, you know, what were the talking points on these movies. And yeah, it's pretty, it was pretty impactful for me as a young person. The more, when I watched it again on YouTube, I was sort of reminded again how, just how impactful it was. And so, yeah, so that's what we took as our inspiration for our 100 years, 100 snubs. Chris, you know, you do the rules much better than I do. so I'm going to have you step in and once again lay out the ground rules. A rules rundown to hopefully not be as long as we were. Yes, we had a long episode.

The Jump Start episode. But we're here to have fun. Settle in, guys. Okay, so here's how, as a quick reminder, this is going to go. We are only choosing one snub per category per year that merits conversation that there might be something else you would expect or maybe multiple options, we might mention it. But for our purposes, we are only picking one of each. Yes.

We will also choose the nominee from that category that will be replaced. If we replace the winner, we are calling that the House Down Boot. We also observe the right to enact than Nicole Page Brooks rule, where we send all those bitches home. Yes. And then our guests that will be coming in, that will be on top of our list of 100, once again, we are here to talk movies not math and yeah

movies not math t-shirts I feel like is in the offing at some point yes that they made those as the counter campaign the smear campaign for a beautiful mind yeah right right yes exactly yeah yeah so our guests are free to do whatever they want they are not beholden to our

strictures and rules and they were given kind of free reign so and yet our guests are brilliant we love them and their picks are canon too. Oh yeah. No, we wouldn't know what to do without our guests. And so we've got another couple lined up for this episode. We are very excited to have them. You will hear from them when the time comes. Otherwise, Chris, crack your knuckles. I think we're ready to go. Are we kicking it off? Are we kicking it off? Do we have Trisha Yearwood to send us with a ticket to dream.

Tricia has stamped our tickets to dream and we are ready to board that, I don't know, Polar Express. There should be a bridge song between a ticket to dream and how do I live. How Do I Dream? Right, exactly. This would have been the year, right? This would have been the same year as how do, no, how do I live was 97. So this was, Trisha Yearwood was hot coming off of that Oscar nomination for that movie. Listen, in the contention of who had the better, how do I live, Tricia Yearwood, or Leanne Rhymes, this was the prize. They got to do a shitty song on a TV special. An Oscar-nominated song with two hit versions in two, essentially two mediums, because Leon Rhyme's version was mostly a pop version and Trish's was a country version. To have all of that surrounding a piece of shit movie like Conair is very funny to me.

Like, that's, that's history. You know what I mean? That's not a Diane nomination, is it? Did Diane write that song? I feel like I can slate that because it's so close to Armageddon. Which she definitely did write. Hold on. How do I live?

I'm looking at it up. Okay. It's weird that I don't have all of that. You said that the Leanne Rhymes version is a pop version, but those are two female country artists. It is. It's not like they had Mariah Carey and Trisha Yearwood, where it's like, let's do it with an R&B artist. But there was some, there was some, some issue, like, not issue, but like there was a thing at the time about, like,

Leanne Rhyme's sort of veering towards pop and away from country. That absolutely was a Diane Warren song. I should have, I should have known that off the top of my head. It felt right, but yes, I just confirmed, yes. So Diane Warren, that was the late 90s run of Diane Warren, where it was like, up close and personal song, how do I live, don't want to miss a thing. And somehow, these are all giant hits, inescapable, you could not get away from them in the late 90s, and somehow she lost for all of them. And that is why we have

what we have today, which is an unstoppable freight train of Diane Warren nominations. Not even a governor's award could derail. Listen, the Diane Warren nominations are basically AI generated at this point. It is word salad of lyrics, vaguely inspirational anthems, and the movies themselves are AI generated after telelocal. Give yourself a round of applause for listening to her nominated song this year is what I will say. You know, this made miniseries is nothing, if not us giving ourselves and these snubs some applause. A round of applause, yeah. Okay, Chris, you are first up in the order for this part two, 100 years, 100 snubs, ready when you are.

I am very ready. Okay. Let's go. Let's get into it. Let's take a trip. Thunderdome music. Let's get into it. Okay.

Thank you for the horse. He liked him. Oh, it's beautiful. But I thought we were going sailing today. You promised. So listeners may think that this is just a nod to, are running bits on this podcast, but it is

not, but this one is definitely for all the weird gays who love the cell. We are talking about best costume design in the year 2000 for Iko Ashioka's costuming for the cell. How did this miss? How the

hell did this miss? Especially when it got a makeup nomination. That's what I'm saying. Iko Shioca would go on to have more costume design nominations. How many after this? She had already won for Bram Stoker's Dracula.

It's probably only Mirror Mirror after this. Yeah, I think so. You know, Mirror Mirror, which, was that a posthumous nomination or did she die shortly after the nomination? Definitely by the time the Oscars had happened. I suppose it's something I could look up very quickly and see. Ico Ishioka, great costume designer. died January 21st, 2012.

So, yeah, this would have been right around the time of nominations. Like, yeah, so. Just, just an absolutely incredible singular artist that, you know, people continue to draw inspiration from, from her work both on the stage and in movies. Yeah. You know, no question her costuming win for Bram Stoker's Dracula remains my favorite Oscar win of all time. It's utterly unchallenged.

Yeah. you know, talk about not understanding the assignment, writing the assignment, writing the assignment, writing the assignment for future generations. Sure, sure. A complete imagination, you know, give that woman posthumously any budget that she wants to have to create incredible things. And in the cell, it's like, there's a lot going on in that movie, design-wise, and the movie itself, while wonderful. and we love it, is kind of gross junk in a lot of ways. But, like, they did honor the makeup design. You could honor production design.

You could honor visual effects for that movie. The cell is, what if a visual artist made, remade kiss the girls, essentially, right? Because it's directed by Tarsem. It's also kind of like, what if a, what if a nine inch nails music video, wanted to disembowel you, you know, which they kind of already do. And like there's so many incredible, I mean, it's not to be gowns, beautiful gowns about it, but a lot of these costumes that are so memorable and iconic are, you know, Jennifer Lopez looks. And I remember when they did the J-Lo runway on Drag Race, we were like, who's going to do the sell?

Who's going to do the sell? And before we remembered that like copyright laws are the bane of anything cool, that nothing thing cool can happen because things are trademarked. And you know, you know the thing with, with night of a thousand whatever's on drag race is they are limited by only anything that can be replicated in a Getty image because they need to show the side by side. And that is, we are held hostage from entertainment at the highest levels by Getty images that should gall everybody. Like, we should not stand for that. We are a country. We used to be a, we used to have a society. We should not be held hostage by Getty images.

images of all things. My God. But, I mean, I think part of what, a huge part of the visual appeal of this movie is the costuming. And, you know, Iko Asioka is a legend. I could not have a list of snubs even though it's my favorite Oscar win of all time

because maybe we should have just nominated every single time she stepped up to bat. I will say, the nominees that year are very costuming. So, like, it's a lot of most costumes going on. Sure, sure. Gladiators, the win. the other nominations are 102

Dalmatians Crouching Tiger, Hidden Dragon, How the Grinch Stole Christmas, and Quills. Right. I'm giving the boot, unfortunately, to a movie that I think we've come around on, though people don't,

I don't think people think that it's good, but people do enjoy this movie. And I think initially it was like, this is a piece of junk that's just making a bunch of money, and it's How the Grinch Stole Christmas. I mean, you know, there's iconic characters and such,

like Christine Buranski, but it's a lot of Santa costumes, you know, that are either corseted or silly. Here's my question, as I'm looking through the costume design nominations throughout the years. I guess 101 Dalmatians did not get nominated. So I guess 102 is the makeup nom. Otherwise, I would be like, haven't we already rewarded Glenn Close as Corella DeVille enough? 102 has the, like, crazy costumes, though. Okay, all right. I don't think I've ever seen a hundred and two.

I think I've only ever seen the first one, so I can't speak on that. It's goofy. You should watch it. I guess. 101, I didn't, I liked enough. I liked it, you know, to a point. It is kind of amazing the chokehold that Cruella DeVille has on the costume design nomination, because we also, of course, Cruella won, right, two years ago? Yes, God.

Ugh. Kind of, no, I, say what you will about Cruella. The costume's in that. Jenny Beaven's costumes in that were fucking fierce. I love Jenny Bevan, but I hated that movie. I hated that movie so much. All right. Anyway, so you're booting How the Grinch Tell Christmas.

I am. Okay, that's fair. I raise a skeptical eye at Quills in general, but yeah, that's fair. I like quills. All right. Should I jump in with my next one? Yes, yes. What are you kicking off part two of this episode with?

Hi, baby. Um, it's me. It's Vanessa. I can't wait to meet you. I am nothing, if not a crowd pleaser. So in this way, I am choosing, uh, this is, this, I don't think I'm going to get a lot of pushback from the audience on this one. This was, this is somebody who we talk about constantly. And in terms of this performance constantly as somebody who, I would say not only deserved a nomination, but like would have been one of my top performances in this category this whole year. So this is back to the year 2007 in the best supporting actress category, the great Jennifer Garner and her performance in Juno as Vanessa.

It is her best work in film. Jennifer Garner is an actress I in general really love. I was an alias fan back in the day, so I think anybody who was an alias fan sort of has a place in their heart for Jennifer Garner. And her film career has been spotty, real spotty, you know what I mean, highs and several lows. But this was the perfect role. I think a lot of this is owed to the screenplay in that Diablo Cody makes the superiors. decision to invest in this character who may otherwise have been pretty two-dimensional. She's a square. She's sort of, she's everything that Juno isn't. And Juno sort of sees her at

that at first, right? And the brilliant thing about Diablo Cody's screenplay for Juno is the way that it takes those preconceived notions and then moves with them and moves these two characters closer to each other in a way that I think is wonderful. But I think it doesn't work if Jennifer Garner isn't holding up her end of the bargain, right? Elliot Page does a tremendous job, as Juno. And I think Jennifer Garner has to be not only sympathetic, but you have to, in a couple scenes, in a couple really revelatory scenes, understand everything there is to know about her. And she does in the scene in the mall where she, you know, touches Juno's belly and she

feels the baby for the first time. It says hi, Barbie. Says hi, you're lunatic. Chris's new thing is that Jennifer Garner says, Hi, Barbie to Juno's belly in that movie. It haunts me to this day. But it's that scene, and then it's her sort of breakup scene with Jason Bateman, where she kind of, you know, makes the choice of not tethering herself to this man

who's never going to get beyond his need to feel young and cool. And it all works, and she's such a. huge part of that. And she was a star that, you know what I mean? Like, she was, it's sort of surprising that with everything that Juno had going for it in award season,

that it only really mounted one acting campaign. This is what I was going to say. It feels like you have to have a second performance from Juno on this list somewhere. Simply because when you watch that movie now, while I think Elliot Page is tremendous, it seems

so silly that Elliot Page is the only performer nominated from this ensemble. And, like, I would have, if, I honestly, if that movie is made today, J.K. Simmons gets a supporting actor nomination out of that. Well, yeah, because supporting actor is all about cuddly dads now. Right, right. Who's a cuddly dad this year? They're getting at least nominated.

I guarantee you, someone will get bonus points for just being a cuddly dad in the awesome season because it's just what they love. Who in the movies coming up? I can't think of any off the top of my head as a cuddly dad, but we'll see if you're right. We'll clip this at the end of the year, and we'll see if you're right. So who to boot off of this list is a challenge. This was the famous 2007 supporting actress year where everybody kind of gets some kind of precursor, right? Tilda had won the BAFTA, Ruby D had won the SAG, Amy Ryan won a bunch of critics awards.

Sersha didn't really win anything, but she's the kid. And sometimes the kid gets extra bonus points, especially in supporting actress, right? your Tatum O'Neils and your Anna Paquins and whatnot. And then Cape Blanche had won the Golden Globe. So going into Oscar night, the momentum was kind of everywhere. And so looking at this list, obviously, Tilda's my favorite. Like, I'm not getting rid of Tilda. I think Amy Ryan is very good and Gone, Baby Gone.

And I'm not taking away Amy Ryan's one Oscar nomination. I take it away from Sersha because she has so many others, but I think she's tremendous in Atonement. And I think she's so crucial to that movie sort of getting off on the foot that it gets off on. And so I'm sort of down to Ruby D. in American Gangster, which is a good performance in a role that doesn't really ask much. I know she slaps Denzel in the face in the one scene, and it's whatever, and I love Ruby D. It's a great scene, and she's a great actress. But I'm not sure in total how much, how impressive that is stacked up.

to everything else. And then there's Kate Blanchett, and I'm not there, a movie that I confess I've only ever seen the one time. And she, it's a great movie. And I think she, you know, is doing some really interesting work playing, you know, this, you know, obviously male character, this version of Bob Dylan, but it's, you know, the androgyny is, is baked into the performance there. I, if I'm going to maybe get political for having, a second, I'm not going to take away a nomination from a black actress for Kate Blanchett's like sixth Oscar nomination. You know what I mean? Like in the general pool of things. I know we're not taking it that seriously. I know it's not that deep. But I would just feel weird.

I mean, Ruby D should have nominations for other things maybe, but I, she would not be who I would boot here. Who would you boot? I would boot Sersha. Yeah. A performance that I do love and I think is great. Yeah. I think you have the disadvantage here of actually picking a really great category that the lineup is really great. Yeah. Or I would maybe boot Amy Ryan for Gone Baby Gone, though I don't want to take her nomination

away. That's probably what I would call the weakest performance of this lineup. Maybe. I'm booting Kate. I'm going to, Kate can take it. Kate's fine. She's going to have another, you know, does a nomination. She's got her golden age.

Yeah. She's nominated for Elizabeth the Golden Age. She's all right. She's doing well. All right. Where are you next, Chris? And yet, it was no surprise to me when I finally understood that he was the most beautiful person I had seen in all my life. All right, so coming to a much more recent nominee, one of the most, not nominee, one of the most recent snubs of all of my picks.

We know I have strong feelings about this. You should go back and listen to us on the screen drafts Best Picture follow-ups episode with us. That's right. Rich. Yeah. We're talking about Best Picture in 2018, and I chose if Beale Street could talk Barry Jenkins's other masterpiece. Listen, if you haven't seen the movie already, what's, the hell are you doing with your life? It's really good. A black family living in Harlem in

the mid-century, the 1960s, where the youngest daughter becomes pregnant with her boyfriend Fawney. We all celebrated Regina King's performance. I think she was never not going to win that Oscar for supporting actress. However, I think the circumstances around that movie not getting a best picture nomination. I would place a lot of the blame on Anapurna, which was a production company that then decided to do their own distribution, didn't do all that great. As a distributor, quickly kind of went under. We don't really talk about Anna Perna going under anymore because they went under in 2019, basically. They didn't go under. It's Megan Ellison, who is a billionaire. They didn't lose billions of dollars.

Are you saying that Megan Ellison let the COVID virus out of a lab on purpose so that we could distract from Annapurica? Yeah. But they also put all of their efforts and finances and all of that behind Adam McKay's Vice, a movie that absolutely no one likes. And I think a lot of us were in agreement when all those Oscar nominations happened, that if Oscar nominations happened, a week or two later it probably wouldn't have all of those Oscar nominations because it did really, it was a movie that was kind of

a fast fade. Like the type of thing that, you know, they're always going to kind of vote, especially if they don't have time to think about it. Yeah. And you know, it won a makeup Oscar but nothing, you know, it wasn't a threat to win any of its

other nominations. And it's a horrible movie. You are kind of spoiled for choice. though in this in this best picture category in terms of what to get rid of. This is the trick of the and part of the reason why I, you know, this is a genuine masterpiece movie

that and this is a I don't, I mean, okay, there are great movies and inarguable best picture nominees in this lineup, but there is also usually there's one really bad movie or a movie that we can all agree on is not that great.

There are three real pieces of shit in this lineup. Green Book wins. The other nominees are Black Klansmen, Black Panther, Bohemian Rhapsody, which I think was probably second place to best picture. Well, this is the question, because I was going to say, the temptation is going to be, well, if I get rid of Green Book, something else will win. But if you get rid of Green Book, that something else that will win is very possibly Bohemian Rhapsody. Also horrible?

Right. The favorite. Roma a star is born and again vice I feel like the temptation is to get rid of vice because if vice is gone then maybe Anna Perner could have made it happen for this movie yeah you know this movie that continues to you know how like on rewatch have just as raw if not more of an emotional experience when you watch it versus vice which no one has watched since 2019 um however you know I'm not necessarily thinking if I get rid of this one, I can get rid of, you know, it makes for a better best picture winner. I'm just going to get rid of Green Book. It is, you know, so many, so many things are just better if it's not there. So Green Book is getting the house down boot. And maybe Roma does win instead. Maybe it's not Bohemian Rhapsody. Maybe it is Roma that holds on. I think it's Bohemian Rhapsody. Well, that's very possible.

what a world what a world in 2018 the highs and lows of that best picture category we talked about this very recently but like it really is something like some of my favorite movies of that year

nominated right the favorite and the star is born I really love Roma Black Panther and then it's like oh god the other end of that spectrum

is just right Oscars we love them we love them all right we do are you perhaps taking us

to a sunnier time than the times of Greenbook winning I am. Best picture. Dangle's on a string like slow spinning redemption

winding in and winding out the shine of it has caught my eye and roped me in so mesmerizing and so hypnotizing I am

captivated I am We're going to go into the mid-aughts for this one. So when we decided we were going to do this project, 100 years and 100 snubs, I had a few that jumped immediately to mind. And then there were some others that didn't cross my mind until I was scanning through the years and sort of going through my files and my documents and the movies. And when this movie came across my notice, I knew exactly the nominee that I was going to choose for it. And it was, I would not be deterred.

2004, best original song, I am choosing Vindicated from Spider-Man 2, words and music by Chris Karaba of Dashboard Confessional. It absolutely should have been an Oscar nominee. It was a hit movie, Spider-Man 2 is an Oscar-Wing. and visual effects. The other nominees this year were almost uniformly bad. Like, this is a real bad category. And being like, well, did this actually qualify for the Oscars rules?

For a best original song, we can just say, these like eligibility things, they maybe need to go away a little bit to get some better songs. Chris Caraba wrote this after watching a screening of Spider-Man 2, a pre-release screening. So, like, this movie was written for this movie. For this movie, this was not on any other, like, this was written for Spider-Man 2. It appears in the closing credits. It's not like those Hinder game soundtracks where it's just like, we've got a bunch of B-sides sitting

around. Right. No, this one was like fully eligible. It's only, I would say, um, genre snobbery that, that takes it. Like, Oscar voters never go for songs like this. They would never go for like alt-rock stuff or, or this, and this is sort of post-alt rock emo, whatever, like. Oh, it's punk.

Are you a dashboard? Were you ever a dashboard person? I'm saying, I'm guessing no. I'm hoping I'm not severing our friendship. Oh, it's not that big of a deal to me. I just, I'm curious. The whole, like, pop punk emo set was a little lost on me as a... For the most part, me too, but I really loved dashboard conventional.

Everything I listened to them, I really, really enjoyed. So I would have been so, so, so thrilled. Were they the screaming infidelity's people? Yes, they were. Okay, I just remember being in high school. And, like, annoying people singing, screaming infidelities. But the only lyrics that they would sing was the title of the song. It's like, do you not listen to the rest of the song?

I feel like if I had gone to a co-ed high school at the time that dashboard was popular, I probably wouldn't have been a fan because I think that would have probably turned me off a little bit. That's sort of like overly... I mean, it was mostly dudes. I definitely had emo friends. It's not the wrong with the people. But, like, the music just never caught on to me. The closest thing like pop punk that I got into was Avrilovine, naturally.

Sure, of course. Aver Levine, who was just as posturing as any of the other ones, give me started on... She was also, like, 16 years old. No wonder she was a jerk. And Canadian, so... She's a kid. Yeah. Okay.

Give me on a ranch. Give us these nominees. Okay. Anyway, nominees in 2004 for original song, a real fucking piece of work. winner is Al Oterlado del Rio from the Motorcycle Diaries, which was performed on the Oscars by Antonio Banderas because they did not trust Jorge Drexler to have the star power to carry a musical performance, which whatever fair.

Accidentally in love from Shrek 2, which was performed on the Oscars by Adam Duritz and the Counting Crows. And then a trio of songs that were so listless and uninspiring that they were like, how are we going to get anybody to watch these? fine, we'll have Beyonce perform all of them on the Oscars. So this would be Learn to Be Lonely, the bonus song written by Andrew Lloyd Weber for The Phantom of the Opera movie.

Look to your path from the French film The Chorus and then believe the Josh Grobin song from the Polar Express that Josh Grobin and Beyonce sing as a duet on the Oscars. So I watched all of these performances again this morning to remind myself. I had absolutely forgotten that in addition to Beyonce wearing a metric ton of jewels for the Learn to Be Lonely performance, that she performs for the most part at the top of this stairway,

and then at some point is guided down the steps by somebody dressed up as the Phantom of the Opera, absolutely had forgotten that that was a whole thing that Beyonce and the Phantom of the Opera shared stage space at the Oscars at one point. Phantom of the Opera, rest in peace on Broadway. Look to Your Path, which is titled in English, but she sung that whole thing in friend. on the Oscars, and then she duets with Josh Grobin on belief. So it's one of these three that I'm going to boot. I'm going to let the Counting Crows be the Counting Crows and whatever. The right song one.

The right song one. Sure. Yes, the least objectionable of the four. I don't think I'll Oterlado Del Rio was objectionable, but pay me a billion dollars to hum that tune, and I could not do it. The thing about the Beyonce three in this case, learn to be low. only has like seven lyrics and they're just repeated constantly. And like it's really is emphasized when you see Beyonce sing it on the Oscars.

And yet it's sung in the film by Mini Driver and I guess it's overclothing closing credits, right? It's not really even made part of, which is a bullshit way to get an Oscar nomination. I hate that trend. So the temptation is to boot that one for that. But the Mini Driver adjacency is, you know, gives it a point in its favor. Look to your path. Again, Beyonce sings in French on the Oscars, which you want to give it bonus points for that because that was a moment. It's not a memorable song from not a memorable movie. And I think if it got disappeared from an Oscar lineup, nobody would ever miss

it. Well, now we talk about the trend of documentary songs you've never heard getting nominated for Oscars. There was like a mini trend of songs from French movies getting original song nomination yes yes uh believe has absolutely the most trite and insipid lyrics of all of them but believe is the only one where i can i can hear that chorus in my head you know what i mean like that's the only one that has a i can hear learn to be lonely even though there's you know i think believes the only one that has a successful hook in any kind of way and i do everyone yelling at uh valentina it's a seven word card girl. Doesn't know the words.

Sheikoulet's hand motion during that is so funny. So I made a real conundrum here. There are reasons to boot all of these and there are reasons to keep all of these. I think ultimately I don't hate Josh Grob. And I know I'm supposed to hate Josh Grobun and find him unbearably square. But I find him charming. And I find him charming. And, Again, the lyrics are genuinely insipid, and the Polar Express is a genuinely, like, bad movie. And yet, there's enough of... A human torture device, the Polar Express. There's enough of that song that at least exists where I'm just going to boot, I'm just going to boot look to your path. Like, God bless you if you had anything to do with making the chorus.

I don't dislike you, but, like, that movie is vapor to me. So I'm going to get rid of that. I will say, if vindicated by Dashboard, Confessional is nominated for that. It's my number one with a bullet in that category. It's so much better than anything. It's such a rad song. It's fun to sing a karaoke. I love it so, so much. And it's an Oscar nominee in my heart. So there we go. All right, Chris, where are we going from here? In case I don't see you. Good afternoon, good evening, and good night. Okay, so one thing up at the top that I forgot to mention because I need to add it to our outline.

We, this is all going to be culminating with our bid for the biggest snub of all time. Right. We're not ranking until we get to the very, very end. Yeah. This next one that I have for us is one that I considered making my choice for that because I do think this is one that sticks out at a lot of people's memory. I feel like at least in my lifetime, this is the first time I'd ever really maybe heard of someone being snubbed for an, Oscar and, you know, I can't imagine what it would have been like at that time, the type of, you know, snobbery people would have used the Oscars of for this. We're talking Best Actor in 1998, a little known actor known as Jim Carrey for The Truman Show. So good. The Truman Show, which I recently rewatched for this, you know, even not watching the movie. This was one I wanted to talk about.

about. And I, even for a second, thought about making it a best picture snub in my mind, but that was harder to justify, you know, when Peter Weird does get that best director nomination, I think it's an even more worthy best picture nominee than a best actor nominee, but the Jim Carrey thing is so, you know, not historic, but so noteworthy, so famous of a snub. And it would You know, it would go to continue for him. It would happen again the next year for Man on the Moon, which is a significantly not as strong movie. Right. And then you would have shit, like, go back and listen to our episode on The Majestic.

Oh, God, if you dare. But the thing about Jim Carrey, he rose so incredibly quickly, you know, the Truman Show is four or five years after he became this massive, massive star. Obviously, he was on In Living Color before it, but, you know, in a very, very short time, he was getting, what, $20 million paydays for, was it the cable guy he got the paper guy? The famous thing about Jim Carrey is that, like, he enters the year in 1994 as the guy from In Living Color. And then it's Ace Ventura, the mask and dumb and dumber, boom, boom, boom, like in the same year. All these movies that make a ton of money. And then by the end of 1994, he's, like, the most expensive star in Hollywood. And he gets that paycheck for the cable guy. Yeah, yeah, yeah. Which is, I mean, I love the cable guy, and I think he's great in the cable guy. It's not what audiences were expecting. It was not what audience wanted. It's a very dark movie.

Yeah. To the point where he's making a comeback in 1997 with Liar Liar. Like, that's how truncated the Jim Carrey moment was. He wins the Globe for the Truman Show. It's still comedic, but, you know, it's pushed as a drama. Do you remember his line when he accepted the award for the Truman Show? Well, two lines that I remember from that acceptance speech. The one was, it's going to be so hard to talk out of my ass after this.

Yeah. And then the other line, though, was, you know what this means. I'm a shoe-in for the Blockbuster Award. I didn't remember that. I remember the other one. But there is this element of probably the Academy couldn't get past the fact that he's, you know, the guy who talks out of his butt in Ace Ventura, or has boogers frozen to his face. in dumb and dumber. And there is a certain level of the Truman show

that is not a showy performance. You know, I think he would go on to have an even more subtle and moving performance in Eternal Sunshine. But I think there is this kind of intentionality to have an unvarnished performance, you know, to not be so broad, not be so big. That does work in the Truman Show's favor. And, like, the problematic sides of Jim Carrey aside, it does really show him as a kind of everyman actor in a way that I think his vulnerability is really interesting in this movie.

It's interesting that Oscar voters couldn't get past the clownness of Jim Carrey to nominate him for the Truman Show. And yet, a decade earlier, basically, like, welcomed Robin Williams into their loving. embrace, starting with Goodmore and Vietnam and so many other nominees after, nominations after that, and ultimately he wins. It's an interesting, you know, dual case there. I would want up that that they can't get past the clown factor of Jim Carrey, but they award a full-ass clown in Roberto Benini for Life is Beautiful this year. There's that too. Yes. But yeah, I mean, there is a certain, I mean, clown is maybe a strong word, but there is. is a part of Truman that, you know, is performing, you know, Middle America goodness or whatever

that is. It's a smart bit of casting in that it casts in a way that you, that you enter the movie on this sort of like big sort of, you know, a little bit of the rubber face Jim Carrey, right? With a big smile and good afternoon, good evening, and good night and that whole thing. And he's, you know, almost too square to be believed, that kind of thing. Right. Right. Yeah. So the nominees, I mentioned Roberto Benini wins for Life is Beautiful. Also, Tom Hanks for Saving Private Ryan, who I think in the mainstream, people would have expected it to be Tom Hanks. But I think if you look at that lead-up, Ian McCullen probably had the bigger shot between the... I remember the narrative going into that fall being, well, Hanks can't win because he's won two so recently. And that it was between Ian McKellon. and Nick Nolte for who was going to win. Nick Nolte, who's nominated for affliction, he was also such a strong contender, too, that a kind of- Even though nobody saw an affliction. Like, a few people saw gods and monsters, but even fewer saw affliction. Exactly. Well, I think, I think it maybe had

a qualifying release. I forget. This is also, I believe, early Lionsgate. And ultimately, Coburn wins, so, like, enough people see it for Coburn to win. God's and Monsters is early Ionsgate. Yes, but Nick Nolte is such a contender that it gets James Coburn this kind of late nomination that I think he didn't really show up much on the precursors, and then James Coburn wins. Oh, yeah, James Coburn has been in movies for decades. Maybe we'll give him an Oscar. Over Ed Harris for the Truman Show, who was the one who was sort of the frontrunner going into the Oscars. Yeah, yeah. And then Edward Norton, who's kind of the somewhat a surprise nominee for American History X who runs his own campaign, obviously a very fraught production,

where he basically stole the movie from the director, et cetera, et cetera, et cetera. But that one, that one was not in the precursor season at all. That was had buzz going into season and then kind of seemed like it died. And then people saw the movie and it was like, ooh. Well, but then all of a sudden, just last minute, it was, because it is, it's a pretty tremendous performance. Like, I know that, like, Edward Norton, yada, yada, he's a terror on set, yada, yada, yeah, yeah, whatever. Profoundly unpleasant movie, et cetera. But he's so good in it.

Like, he really is, and terrifying in the flashbacks where he's, you know, a neo-Nazi and all that. And really, so, yeah, and this was smack in the middle of the, Edward Norton is our finest American film actor, you know what I mean? Yeah. If I'm an Oscar voter and I have a ballot that year, I'm without question voting for Ian McCollin. Same. My boot, however, to replace with Jim Carrey, it's another house down boot for me. Roberto Bonini winning, not just because he's jumping on chairs and such. I think that that is a horrendous, offensive movie that I'm kind of, I mean, I'm not surprised.

it was a mirror max Miramax pushed that movie that movie was around for a while and I will say people I will say though genuinely loved it a lot of people saw that movie and not in a cynical way I think

and to the point where it was tough for me to talk to people about that movie because to talk about why I didn't like that movie I had to you almost have to be like you got to be a real sap to buy into the shit that he's shoveling in this movie. You know what I mean? You also have to like, not to be like, oh, to awaken people, but to like talk about what is offensive about that movie.

Some people just don't get it or haven't thought that deeply about it. Right. And you essentially have to, and I hate doing this. You have to be instructor to people. You have to tell people like you've, not that you're watching it wrong because they really do despise that thing. And the people are allowed to take whatever they want from a movie. But to talk about why you don't like that movie, you have to be like, the central premise of this movie to me is so false and so bankrupt. And that central premise is what the people who love that

movie love about it. That it's this, you know, triumph over this horrible circumstance and to, you know, that within this thing that you can't do anything about that this father tries to make an alternate, you know, reality, essentially for his kid or whatever. And the people who love that movie bought into that. And I'm not saying they, you know, it's hard to say that you didn't like it without being like they fell for it. But like, so it's hard. I don't like talking about this movie for this very reason.

Like, I don't like telling people that, like, you're wrong for liking this movie. Right. Anyway. Let's move on to your next pick, which anyone who, uh, anyone who, likes it is right for liking it. Last time I saw his face was July 4th, 1969. I'm very sure that's the man who shot me.

I'm going to be more brief about this one, both because some of these need to be brief, but also because we did an entire fairly lengthy episode, episode 91, go find it on the film Zodiac, and why we loved it. I am choosing my snub to be 2007 best director, David Fincher, for Zodiac. Everything we sent in that episode, everything, all the choices he makes in that movie are tremendous. It's my favorite Fincher movie. It's the one that I think his directorial achievement is the most pronounced.

I think it's the movie that we'll remember him for. I mean, we're going to remember him for a lot of movies. He's going to be one of those directors that we remember for, you know, quite a bit. But this is the top one for me. And the way he harnesses this true story and is rigorous enough to stay on the plausible margins of it, you know what I mean? He never goes beyond what information is publicly available. So even when he depicts some of the murders, everything with the killer is, very shrouded, and, you know, it leads you to come to these suppositions and conclusions or

whatever, and it guides you on around a path. But it's very meticulous and very careful. And the scenes that are scary in this movie are so incredibly terrifyingly scary. But otherwise, it is a, you know, a shoe leather sort of like investigation kind of. of thing. And watching, you know, Mark Ruffalo and Jake Jillen Hall and Robert Downey Jr. sort of try to crack this case. There are so many sort of interesting little detours and characters. The Brian Cox character is so interesting. John Carroll Lynch is terrifying. Great movie about where its greatness kind of lies in how it's about what it's about. Yes. Yeah. So again, go back. Not to not to be like,

Like here, I'm here to tell you something. Now, go listen to this other thing. But go listen to our episode on Zodiac. It's really good. Okay. So the nominees in 2007 for Best Director. This was, we just talked about it when we talked about the junior year. So Jason Reitman's nominated for Juno.

Tony Gilroy for Michael Clayton, Julian Schnabel for the diving bell and the butterfly. Paul Thomas Anderson for There Will Be Blood. And then the winners are Joel and Ethan Cohen at long last for no country for old men. 2007's a very good year for movies. And sometimes very good years for movies end up with real shit in the best picture lineup. I'm thinking, you know, 1999 is a good example of like what, you know, 1999's best picture lineup does not reflect the greatness of what's going on in 99. 2007, it's closer, right?

You got no country for old men, there will be blood. Michael Clayton, Juno, these are all really great movies. Somehow, and it still puzzles me to this. day that the narrative for lone director settled on Julian Schnabel for The Diving Bell and the Butterfly, a movie which is, okay. Like, I, I, what's the hook for the diving bell and the butterfly? What were people, I get that, like, Julian Schnabel was this sort of, you know, filmmakers, film, he was a, he was, you know, he had this real air of auteur to him, right?

That he, you know, cultivated and he was difficult. cult and he was irascible and yada yada and I still don't get what it is about the diving yeah what was it about the diving ball of the butterfly that hooked people it's not a feel good movie it's not a I mean I think the type of voter who sees like the schmaltz

of some even if it's not presented and I kind of think it is in that movie the like the emotional story of it you know people who can easily be like well it's about like blah blah blah and then the, like, high artful-mindedness people. It appealed to a broad section of people. What are the other Julian Schnabel movies?

I guess before Night Falls was him, right? Which had gotten some Oscar attention for... Got a nomination for Bardem. At Eternity's Gate gets a nomination for... Yeah. He's weirdly always on, in some level or another, always on the Oscars radar. And what did you think of before,

Night Falls. I thought it was okay. Again, I was like, I liked Bardem in it more than maybe I liked the movie. Well, and at the end of the day, when don't I like that actor, you know, it's the thing. It's interesting that it's one, I mean, it was his first Oscar nomination and, you know, we love that breakthrough, but I think when I think of his career, it's not a performance I think about. It really isn't. And part of it is that he's worked so often since then, and he's given, you know, taking bigger risks. He's done, you know, more...

Yeah. So, but even if, say, Fincher isn't your pick for loan director, and, you know, whatever. But, like, there are other options that year. There's, you know, give it to Andrew Dominic for assassination of Jesse James. Give it to Sarah Polly for... What's that? Andrew Dominic never would happen. Keep going. I mean, maybe. It's a nominee. It got a nomination for Casey F. Like, it got a nomination. It got a For, like, cinematography or whatever. But, like, if you're going to, certainly, it's not like Diven Bell and the Butterfly was all over that, you know, ballot either. Give it, I know you don't like this movie, but, like, give it to Sean Penn for Into the Wild.

You know what I mean? Give it to Sarah Pollyfer away from her. But in general, it just, it puzzles me. So, yeah, Julian Schnabel is a very easy call for me to get to bump off of this lineup. Joe, I think there's a train coming to the station and someone's getting off the train. Oh, has the Polar Express pulled in? It's the Polar Express. The Polar Express has arrived, and it's not just Santa that's here.

We have a guest. Let's listen. Let's take a call. Hey, this at Oscar Buzz. This is Matt Jacobs, an entertainment writer, here to stump for one of my personal, most egregious Oscar Snubs, and that is Kathleen Turner in Serial Mom. There are a couple of reasons why she's my choice for this series that you guys are doing. First of all, I think her snub has some interesting pedigree behind it because while we often think of comedy performances as not being the Oscars Bread and Butter,

if you look back at the time period when Serial Mom came out, which was 1994, there actually was this incredible hot streak of comedic performance. winning Oscars. It kind of starts with Kevin Klein and a fish called Wanda and Cher and Olympia Dukakis for Moonstruck and goes on to include Whoopi Goldberg and Ghost, Mercedes-Rul and the Fisher King, Marissa Tomai, of course, and my cousin Vinny, an all-time great Oscar win, Mirisorvino and Mighty Aphrodite, and there are a few others in there. And I think Kathleen Turner in Sierra Mom fits perfectly with that roster and that time period that the Oscars find themselves in.

I also think the other hot streak that's interesting here is Kathleen Turner herself. I mean, starting in Body Heat, she has this incredible kind of 15-year run of wonderful performances, many of them being box office hits. She earned an Oscar nomination for one of those comedies in that same time period that we're talking about. Peggy Sue got married. And then, of course, also, you know, she's in Romancing the Stone and War of the Roses. and a lot of movies that set the groundwork for Serial Mom,

which I think is maybe her finest performance of them all, the way that she's essentially doing a dual performance as this prim, perfect, suburban housewife, but then she has this heel turn. You can see it in her eyes. You can see it all over her body as this murderous, you know, middle class woman who basically slaughters anyone who, comes across her family or violates the norms of suburbia. It's just this blistering performance in this pitch-perfect comedy. And she would absolutely be my choice to not only be nominated,

but win the Oscar that year. That year it was Jessica Lang. She won for Blue Sky, a movie that I know we all clearly remember so vividly. But it's also kind of a middling lineup all together. You have Miranda Richardson and Tom and Viv. You have Jody Foster. You have Jody Foster. and Nell, one of the weirdest performances ever committed to film. Winona Ryder and Little Women and Susan Sarandon and the client. Honestly, you can give Kathleen Turner any one of their spots, and we'd still be celebrating that nomination today. I think...

The great Mac Jacobs just gagged the girls a bit. I think. It's a really... I love the thoroughness of Matt's case for Kathleen Turner. Well, the thorough... I mean, Matt just gave a great argument. Almost as if he's one of the best in the business. in terms of, you know, discussing film and cinema.

I love that answer. Matthew, thank you for joining us. Thanks, Matt. Okay, so I'm going to say this is probably maybe our single most discussed Oscar race or actress for 94. We talk about it all the fucking that we ever talk about on this show. We talk about it all the time. And I don't think to the point where people think we hate Jessica Lang.

We don't hate Jessica. I don't hate Jessica Lang. We don't hate Jessica Lang. This is a weird Oscar win. This is a weird Oscar win for Blue Sky. I love Jessica. Blue Sky sucks. She's not good in that movie.

Yeah. Let it go. I mean, and I don't think we've ever mentioned Kathleen Turner for this. Kathleen Turner is such an interesting choice just as a snubby, too, because her career, I mean, full... She's only ever had one nomination, which is crazy. Which is Peggy Sue got married, and it's like... Yeah. People so vehemently kind of hated her after Body Heat, a movie that she totally could have been nominated for.

She's tremendous in it. To the point where I'm, I always have to remind myself she's not nominated for it. But I love this choice. Also, and what it does is it puts into the historical record an acting nomination for a John Waters movie, which would be awesome. Uh, so awesome that it's a perfect segue to my next pick. What? What? Could you turn that racket down?

I'm trying to iron in here. Uh, listen, this is, okay, maybe, you know, people like, or examples of, you know, filmographies like John Waters are a great antidote. to say people who take the Oscars too seriously in either direction of saying that they're shit or saying that they're everything. Yeah. You know, they don't encompass all of everything. But there have been times, I feel like they're, you know, while he is counterculture, the least counterculture of those movies. So this is definitely, you know, on the fringes.

But received the most mainstream acceptance. that he ever would. My bid is looking at the best supporting actor race of 1988, and I say, one of the biggest snubs of all time is Divine for Hairspray. This is a great choice. Yeah. Is my heart truly wanting to put Divine and Best Actor for Female Trouble?

I was going to say, I saw that entry on your long list. I saw it hanging up there. That, I mean, that would have been so far outside of the right. of possibility that our listeners would have destroyed all credibility for me whatsoever. But, I mean, Devine and Hairspray, Hairspray, obviously, with the musical, became, you know, something incredibly mainstream. And I think, actually, ahead of the curve of conversations we would be having in mainstream entertainment. But, you know, Hairspray is famous in his filmography of being the one that got mainstream attention. Yes.

And for the partnership between John Waters and Divine, you know, Edna Turnblatt is a now incredibly iconic performance. And probably, you know, passive and, you know, ardent fans of John Waters would probably say that Edna Turnblad is one of the most iconic John Waters' characters, most iconic Divine performances. Yes. And, you know, Divine is so obviously incredibly funny, and, you know, I think things like the documentary I Am Divine have done a lot to re-contextualize his career in terms of the type of characters he was trying to play, the type of woman he was trying to portray, and that there is actual, while it's all subversive and it's all in the vein of comedy and body comedy, sometimes gross out comedy, There is a vein of emotion in there, and, you know, it's a nod to, you know, 50s melodramas. It's, you know, it's an incredibly intelligent performer, and, yeah, I had to put Divine on my list. I love this pick. It's a really good pick. It's out of mainstream, which is interesting because the hairspray is the, you know, was such a mainstream leap for John Waters. But it's out of sort of the Oscar realm, and yet it makes complete and perfect sense.

and would have been a great addition to this line. Oscar had nominated drag performances before. It may have been from, like, Alec Guinness, but, you know. Right, right. Speaking of Alec Guinness. Yeah, exactly. And also speaking of Matt was very smart to point out all of the run-of-comedy nominations,

and this is the year that Kevin Klein wins for a fish called Wanda. Alec Guinness is nominated for Little Dorrit. Did I watch all six hours of Little Dorrit? I absolutely did not, but I did watch all of Alec Guinness's scene for this. Martin Landau and Tucker the man in his dream River Phoenix The aforementioned River Phoenix On Running on Empty

and Dean Stockwell for Married to the Mob I mean this I don't necessarily think is a bad lineup My inclination though however Is to boot Martin Landau for Tucker the man in his dream Between you know Him being in Woody Allen movies and eventually winning for Ed Wood I don't think anything is lost for Martin Landau's nomination of his, you know, legacy, removing this nomination.

I do think I was really surprised by Tucker the man in his dream and that I really liked it. Is that another Coppola movie? It is. Speaking of Peggy Sue got married. It, it, the movie looks fucking incredible and. What's the nature of his role in that movie? Who does he play? He's like Tucker's the, like, right-hand man, basically.

I forgot what role he actually played. and the business of it all. But, I mean, I love Martin Landau, but, you know, this can be my thing where, you know, we talked a lot the last episode of people being like, the Oscars aren't cool enough to do it. This can be my bid for that. Sure. Okay. It's good. It's a good pick.

Okay. Next will let a demon luck and die. I came down like water for the age of soul. With hell to the father Kiss your sons and your daughters Next up I am going to go to 1998 Into the Crafts Categories of 1998

And Best Makeup for this one This is another one where I'm like How did this not get nominated? It's somewhat similar to, it's sort of the inverse of the cell. The cell was nominated for makeup and somehow didn't end up in costumes. In 1998, Velvet Goldmine was nominated for costumes, Sandy Powell's fantastic costumes, somehow wasn't nominated for makeup. I know this was back in the era where there were only three nominees for makeup every year,

and yet even still. And no, and hairstyling on top of it. That is right. Yeah, that wasn't until very, very late. So hair and makeup in Velvet Gold Mine was by Peter. King. And it's, if you've nominated it for costumes, you've seen it. So I know it's different branches. But like, the makeup in this movie is so much a part of the success of this movie. You know what I mean? Like so much of Velvet Gold Mine is the aesthetics of it sort of bringing you

into this place and time that existed, but also feels like it existed in a dream space. And all of the costumes and makeup sort of go hand in hand with each other. It's more than just sort of like throw in a handful of glitter onto you and McGregor. You know what I mean? It's so much more than like painting Jonathan Rees-Myers' eye. And it's, you know, through all of these different characters down to like the sort of wannabe nature of Christian Bale's character and the way he wears his makeup, the sort of tragic striver quality to Tony Collette.

her scenes in the 70s where she very desperately wants to be part of this scene and she's overdoing it a little bit, right? Jonathan Reese Meyer's character, is he wearing the makeup or is the makeup wearing him at some point? So much of the makeup tells a story in that movie. And it's just, it's one of my favorite movies. I will, it's, I might not say it's Todd Haynes' best movie, but it's easily, I think, my favorite Todd Haynes movie. It's the one. that sort of I hold in my heart the most. And it should have been nominated. So the other nominees that year, again, only three.

They were all Best Picture nominees. It was Elizabeth, and it was Saving Private Ryan, and Shakespeare in Love. So what to do, what to do, what to do. Saving Private Ryan, being a war movie, and being sort of, again, a lot of what succeeds about Saving Private Ryan is the, in the muck of it all, right? and I think the makeup does a big job of helping get you there. I like Elizabeth and I like Shakespeare in love. I do feel like, do we need both movies about Queen Elizabeth to be nominated for Best Makeup in the same year?

Well, I mean, I think it puts them uniquely at odds with each other because the makeup of both of the renderings of Queen Elizabeth and the movie are really kind of the selling point. point for, I mean, did they give, like, Jeffrey Rush a fake nose in Shakespeare in Love or something? Maybe, yeah. It's not, like, wig-heavy, but I do think it kind of puts it in a direct battle of, well, who has the better Queen Elizabeth? And I do feel like, while Judy Dench looks incredible in Shakespeare in love and the way that they transform her. Yeah. The especially final Elizabeth makeup in Elizabeth is a gout. We are aligned on this one.

Again, I'm not a Shakespeare and Love hater by any means. I'm also not a saving private Ryan hater. I reject the binary of you have to choose either saving private Ryan or Shakespeare in Love. I think they're both great movies. Yeah, you feel that binary on me and I'm like, well, I'm voting for the thin red line. Fuck you. I do feel like Shakespeare and Love had plenty of nominations that year and had plenty of wins, and it won't miss this one.

So I am I'm house down, bootsing Shakespeare in Love, surprisingly enough, off of this list. I thought Elizabeth won. Oh, did it? Wait, now I... Yes. Sorry, hold on. I didn't mark it down, and I thought I was... Because I think that's Elizabeth's only win.

Yeah, you're probably right. Yes, of course. Elizabeth did win. Okay, so I am keeping Elizabeth, and I'm booting Shakespeare in Love. Shakespeare and Love will have to live with its 12 other nominations. Sorry to this man who is actually Gwen of Paltrow and Drag, yes. All right, who do you have next? Clear!

Clear! All right, we're going further back, back into the 80s, the early 80s, back when another category was only three nominees. We're talking about best visual effects for 1982. Listen, I am a huge advocate for the academy needs to nominate more gross shit. Yeah. Like, especially, this is, I think, where, you know, I think people want, like, acting. nominations, best picture nominations for horror movies and for genre movies. And this is where, I mean, I think the Academy really does have a lacking of recognizing

some of those movies, though this category itself will make me seem like I'm talking out of my ass. I would throw in four best visual effects in 1982, Ray Arbighas' work for The Thing. Yes. The Thing. Some of the most notoriously gross visual effects of all time. And, you know, you could have a real question of is some of that makeup, is it visual effects where it is, where does it lie? But I'm just going to say for visual effects for this movie, the creature effects that happen, some of the biggest shocks in, I think, movie history and some of the like, you know, biggest jumps and screams and really innovative work happening in that movie.

that it's like you don't just nominate it for its narrative effect but you also nominate it for a real sense of innovation that would be happening in creature effects moving forward from that movie The scene of the thing The movie fucking out aliens alien Like it's incredible

The scene in the thing where Richard Dysart Leland from L.A. himself takes the paddles to the guy's chest to revive him, and then the guy's chest opens up like a jaw with giant teeth and chomps his arms off is the wild. I jumped out of my seat watching that. The movie's 40 years old, and those scenes land every single time, no matter who watches it.

Have you seen the clip going around this week from 9-1-1 Lone Star with... Oh, yeah, it's like they try to do chest compressions on a frozen man. First of all, we got to watch 9-1. We got to watch these 911 shows because what the fuck. Apparently. And apparently that's just like what's going on on that show. That's just what they do on that show. But that's what it reminded me of.

It's just like, oh, God, it's like that's even the thing with Richard Dysart. Yeah, and like the thing where the thing, the moment where they're all getting the blood tested and they're all on the bench. Yeah. And a real, I feel like that movie has a nomination somewhere, but also, I mean, you're advocating right there for best editing because that scene is so perfect it's a phenomenal movie it's easily my favorite carpenter movie it's so good i think i would probably agree um because i think even the original Halloween which is you know and i love the original Halloween if i'm being honest like

there's some crunchy stuff about it like at some like crunchy performance but as much as i love Halloween the thing is essentially flawless yeah um but yeah the nominees that year ET wins then Blade Runner and Poultergeist are the other nominees. Do I feel like my actual boot makes me feel like I'm talking out of both sides of my mouth because I want more like horror and genre stuff at play here? Yes, but I do have to boot Poultergeist. Poultergeist, I think, is of these nominees the one that ages the least. Yes, you could make an argument about E.T.

That since they have done digital trickery to make E.T. However, there's a lot of interesting practical effects that happen in that movie, too. I mean, like, some of the most iconic practical effects, the like bike stuff, you know. No, it's a lineup that I think in general holds up really well and that all three of those movies are still remembered today and are still incredibly watchable today. I don't disagree with you on Poultergeist, even though I think there are some visual effects in Poultergeist that I think are really good. The guy ripping off his own face. Yes. The one, I think, where it's Joe Beth Williams sort of goes in between the walls and into whatever realm,

and it's this, like, glowing light realm or whatever, that feels very 80s and very sort of like, you know. Yeah. So I don't disagree with you. Certainly, I think E.T. and Blade Runner are very hard to be like, well, we're going to just get rid of those. Right. Yeah. Yeah. All right.

Shall we move on to the next? I'm really excited to move on to this next one. I'd like the chef salad, please, with the oil and vinegar on the side. apple pie a la mode. Chef an apple a la mode. But I'd like the pie heated, and I don't want the ice cream on top. I want it on the side, and I like strawberry instead of vanilla if you have it. If not, then no ice cream, just whipped cream, but only if it's real.

If it's out of a can, then nothing. Not even the pie? No, just the pie, but then not heated. This was definitely one where, you know, we announced this project, and I was like, okay, this was maybe like the first name that I wrote out. This is, this was on both of our very long lists, and we had to negotiate who would talk about this one. Yeah.

So I won in this case. I'm talking about Best Actress, 1989. Somehow, I'm still mystified. You know what I mean? This is, again, one of those ones where it's just like, how did this one possibly miss? I'm talking about Meg Ryan in When Harry Met Sally, a movie I watch at least once a year, holds up like gangbusters, written by Nora Ephron, directed by Rob Reiner, played impeccably by. Meg Ryan and Billy Crystal in the title roles. Meg Ryan in particular has never been nominated for an Oscar

was the moment in 1989. This was a hugely popular movie. Everybody was talking about it. It was a screenplay nominee and deservedly so. And yet, somehow, Meg Ryan was a Golden Globe nominee, was it, you know, won an American Comedy Award. I don't know what more you want. somehow misses out on an Oscar nomination

for a film of performance that kind of has it all, right? She's relatable and she's sweet and she has a scene where she's crying for comedic effect and she has a scene where she's crying for dramatic effect and she has this unbelievably clipworthy scene where she's faking an orgasm at Cass's Deli and she's singing Surrey with a fringe on top at the sharper image.

In front of Ira! In front of our It's She's just She does it all in this movie She's perfect She's just an absolutely perfect performance Exactly what

You know What Nora Ephron and Rob Reiner We're going for And Needed The Chemistry with Billy Crystal is perfect And it's a flawless performance And it is absolutely The one

Much more so And God knows I love Michelle Pfeiffer And The Fabulous Baker Boys but like none of the nominees in 1989 for Best Actress hold a candle to the longevity or the impact that Meg Ryan has in When Harry Met Sally. I would even argue the impact over a genre

because while it very much is playing on, you know, elements of, you know, 1940s and 1950s romantic comedies, I feel like it's also the definitive lead female performance moving forward for like the next 20 decades. You know, they're all kind of standing in the shadow of make Ryan in this movie.

Yes. I think that's right. In terms of what those performances are trying to achieve. She set the romantic comedy standard for, yeah, like you said, the next 20 years. So, um, so Jessica Tandy won for driving Miss Daisy that year. Michelle Pfeiffer is nominated for The Fabulous Baker Boys. Your other nominees are Isabella Johnny for Camille Claudel, Pauline Collins for Shirley Valentine, a movie that I keep meaning to watch and I keep not having the time. to watch it. We know full well that we will like that movie. I'm sure I will. That seems like

a sweet-a-sweet-a-k kind of a movie talking about Brenda Blethen, right, a little bit. Like that, I feel like that's the vibe there. And Jessica Lang from Music Box. So here's where I'm going to admit that you are maybe going to have to bail me out here because I have still only ever seen two of these movies. I've only ever seen driving Miss Daisy and the fabulous Baker Boys. You did a lot more homework for this project. Well, because I thought I was going to win and get this one. So maybe, well, I guess maybe that should have come into play in terms of who got this one. You have to boot Jessica.

I'm so. I mean, listeners, we're not pleading our case well here and saying we don't like Jessica Lang. You have to boot Jessica Lang. I mean, I watch that movie and yeah. Also, when that movie came out, like, I read reviews for that movie because I was like, this is just like almost made for TV movie type of stuff. And, like, I don't think there's anything super remarkable that she's doing in that.

Music box, Jessica Lang plays a lawyer who is defending Armand Muellerstahl, who's a Nazi, who's a former Nazi living in the United States. Yes, yes. And the titular music box is a piece of evidence that proves it. Yeah, she, like, it's a music box that, like, you know, reveals photos that proves. Spoiler alert to a movie that, like, you can't really get a hold of that easily. support your local libraries I watched it from the library Especially now that Netflix discs are going away

Support your local libraries Bitch seriously The music box reveals photos that yes He is indeed a war criminal Right The reviews for that movie at the time Several Called that movie out for existing purely

To get her an Oscar nomination And even so I wouldn't have I mean maybe at the time it was different, but, like, it's not my instant reaction to that movie because she doesn't really do much. Like... It's her, like, fourth nomination of the 80s, right?

Because she's nominated for Tutsi and Francis and... Sweet Dreams. Sweet Dreams and Music Box. It's just those four. I think there's another one, but I don't know what it is. She doesn't get the Crimes of the Heart nomination. Sissy Spac gets the Crimes of the Heart nomination. And so many of these just feel like, even though she's an Oscar winner for a

What is a good performance, it feels like they're constantly making up for not giving it to her for Francis, which like, I don't understand these people that think that she's better in Francis than she is. Oh, we did forget one. She's nominated for country the year that Sally Field wins for places in the heart. Wow. How could we forget the motion picture that definitely exists? You can definitely easily get your hands on country. We really aren't beating the we hate Jessica Lang accusations with this. We truly don't mean. I just maybe don't like her Oscar nominations. It's a weird series of Oscar nominations of movies that don't exist. I did watch...

I did watch... I would like Sweet Dreams, though. I caught Sweet Dreams on HBO on like a weekday afternoon one time, and I watched it, and she plays Patsy Cline, and she's... I'll probably like that. It's a music biopic with the same pitfalls and whatever as all the music biopics. But, yeah, so anyway, my inclination, because I hadn't seen... music box was to bump

lovely Jessica Tandy for driving Miss Daisy, which is a bad movie that probably shouldn't have any Oscar nominations. We have full respect to Jessica Tandy and Morgan Freeman, despite everything else that's going on. That's the thing. But perhaps I think in this case, I will defer to your judgment,

and I will cite unseen boot Jessica Lang for Music Boss. Although now everything you're telling me about this is like, maybe I shouldn't watch music box. don't you're going to waste two and a half hours of your life two and a half okay I'm not going to watch it's like 215 I watched it it felt very long okay we're gonna find out it's like 92 minutes and Chris is like it was four hours long it was hold on we can't leave this hanging okay all right I almost called it a hanging chad remember hanging chads see remember the 90s or no I guess that would be 2000 but still Two hours and four minutes.

I stand corrected, but it does not feel two hours. Who directed that, anybody? Costa Gavris. Costa Gavris, sure. Who got a nomination also in the 80s for Sissy Spaceic for missing a better movie. Wait, written by Joe Estherhouse? Okay. It does not feel like a written by Joe Estherhouse movie.

It's not an erotic 90s offshoot? No. Even though I guess it was 89. Okay. All right. So I'm going to defer to you. I will boot Jessica Lang for Music Box. I swear to God I don't hate Jessica Lang.

Don't send me letters. Love Jessica Lang. Don't love her Oscar nominations. Okay, who do you have next? You are taking us into the year 2000, I believe. This is my generation. I think I, I think I, I, think, uh, the year 2000, a, uh, the year 2000, a,

hotly contended best director lineup for 2000 double Soderberg nominations famously I however am talking about a movie that was a critical favorite led

you know the kind of support for this movie was led purely by critics and it is somewhat tragic because we're talking about a director who would have passed away after this movie and that is Edward Yang for Yee. With

only a few films that I have seen, I could probably call among my favorite directors. This movie is just kind of a somewhat slice of life, a year in the life of a family in Taipei that, you know, goes

through their day-to-day lives, small tragedies in a way that is very patient and very ultimately moving. I don't know how you can get through what I will call and not spoil for people who haven't seen it, the final monologue of this movie,

and not completely crumble to either ash or a puddle. Yiyyi is an absolute fucking masterpiece. I would also point people to who have four hours out of their day, free Yiyu is three hours, but a brighter summer day, which was before that movie, but, you know, because of its length,

kind of buried for a while. Um, Yee was, you know, the same year, it kind of got like, in, you know, simple conversations, uh, lumped against Crouching Tiger, which had, you know, the distribution of Sony classics behind it, that movie goes on to make $100 billion and, you know, critics and its distributor had to fight for every single dollar that Yee made. I will say critics. It came through for Yee, though, during the Critics Award season. I do remember it winning National Society of Film Critics for Best Film. It won Foreign Language Film at both New York and L.A. And it won Cannes for Best Director, I believe, right? Yes, it did.

It did. So I remember it being, like, for, this is not a movie that I have seen, but I remember being aware of the 2000 Oscar race, that it was a movie that, like, was on the fringes as, like, critics' choice. I know endorsing a three-hour movie to you. is, like, not going to happen in your life right now, Joe. But I want it to be able to happen. That you, you will respond to this movie. It's just a fucking masterpiece.

And the other thing about, like, why I was so adamant and including it in this list is, like, it almost feels like it happened at the wrong time for the Oscars for this movie. Because it does very much feel like the type of critical groundswell that has gotten movies like Drive My Car Oscar nominations. You know, that, you know, it brings a lot of noteworthy attention that wasn't happening as much at this time for the Oscar's history. So nominees are Soderberg wins for traffic, winning for, I would argue, the wrong nomination. He's also nominated for Aaron Brockovich. You see why they would give an Oscar to the directing for traffic instead of Aaron Brockovich. Yes, you do. But I think, you know, time has changed that.

Uh, Stephen Daldry for Billy Elliott is the lone director nominee. Billy. And then you have Aungle for Crouching Tiger and Ridley Scott for Gladiator. I really don't think that this is going to surprise anyone knowing that I, uh, uh, am openly and non-fan of Gladiator, but I'm going to boot Ridley Scott, you know. It doesn't change anything for Ridley Scott. He still doesn't have an Oscar. So, I mean, and it, it might sound absurd because.

like Ridley Scott not getting that nomination was never not was never going to happen but um that's why we're doing our project he's my boot so chris says gladiator uh for his choice for boot for this category yes two movies that couldn't be more different ye yee and gladiator except they're both three hours long yeah you don't have to scream it you know Speaking of two movies that couldn't be more different, I'm going to, at the risk of cultural whiplash, move us from Yee to my choice for the next great snub, which is, in 2009, Best Documentary Feature,

I am going to nominate the unjustly snubbed Every Little Step for Best Documentary Feature. I love this movie. It's directed by Adam Deldeo and James D. Stern. It is about the late 2000s revival, Broadway revival, of a chorus line, and essentially casting the revival for a chorus line. And it sort of goes through the entire process.

And in that process, mirrors the story of a chorus line, right? Where everybody in a chorus line wants to get cast in this Broadway show, they are, you know, in their own little ways, degrees of, you know, desperate to get cast in this thing. You get the commentary from the original cast. You get archive footage of Michael Bennett talking about the, you know, the movie with his original cast, and then you get the original cast nowadays, some of whom are helping cast this new version, biorkly telling the dancers to eat nails at one point is always going to stick with me. You got to dig in, you got to eat nails. And then the new sort of cast and prospective cast, and, you know, will they get the roles or not?

just the, so many moments, Charlotte Zambois is in this movie and Deirdre Goodwin and Jason Tam's audition for, I think his character is Paul, that brings the casting directors to tears is something I will watch just on its own many, many times. Jason Tam, who was a One Life to Live kid at the time, like at that time. And I was working at ABC at that time. So I was very proud of him for that. There's just a lot of little, really great small moments in this, Deirdre Goodwin, finding out that she got cast in the role while standing on the corner of 45th Street and 8th Avenue, which is where I lived. Deirdre Goodwin on a flipphone.mpte4. Yeah, exactly.

But also, I think it's a very deceptively smart movie about telling the story about why. theater people work in the theater and why these actors work in this punishing and and in many ways impossible realm of the chances for you know true success and top line success are so small and then you watch that movie and you know you ask me why I give so much leeway to theater people in my life and in the culture and I watch a movie like every little step and it's just like how do I not just absolutely fall in love with all these people and the way that their dreams and ambitions and while at the same time I can watch fucking Tice DeOrio

who was a judge on So You Think He Can Dance at the time who annoyed the shit out of me, get fucking hoisted by his own petard in this movie and sort of brought down to earth and he's so cocky in this thing and he's, you know, and then watching how much he fucking wants it just like everybody else and he's not too cool for this. And anyway, it's a tremendous movie.

And I get where this is, and it was seen at the time I imagine as like slight. You know what I mean? It's a movie about a Broadway show. And it's not about, you know, migrants in Mexico, which was which way home. And it wasn't about the Pentagon Papers, which was another movie. Not about an epidemic. It's not about environmental crises like the Cove, right? It's not about it.

Yeah. So it's, I get where like oftentimes best documentary feature comes down to most important issues sometimes. And every little step isn't going to be able to compete in that way. But it is absolutely a really smart, deceptively smart movie about what it's about. And it's also deeply entertaining. And I don't know. Are you, are you as. I can't imagine you're as enamored as I am of this movie.

But, like, have you seen this? What do you think of every little step? You just want to open wounds of my trauma. Okay, so I was in college. I was in college for theater when this movie came out. Seeing this movie with a crowd full of theater people is a 4DX experience. I think the sequence that constantly sticks out in my mind, aside from Dear Goodwin on a flip phone.

Deirdre Goodwin, great star of musicals. She has every little step. She has Chicago. She has Chicago. She has Magic Mike XXL. Yeah. The audition sequence when they have everyone doing at the ballet, when everyone is missing that fucking giant note. And it's so painful when you're watching it.

And you're watching it. If you were like me watching it with a crowd of theater people. It was like a sporting event where people were just like, oh, oh, and then when that one actress hits it fucking perfectly, like everyone was leaping out of their fucking seats, it's, that is a great sequence. Oscar nomination just for that sequence. Yeah. Yeah, I love that you put this on here. I love how you speak about this movie. Thank you.

I truly do love it, and I will probably watch it within the next week because I can't talk about it without one. to go put it on. So in terms of what I boot, though. So 2009 Best Documentary, I definitely saw all of these movies and trying to remember all of them is sometimes a little challenge. Sometimes when I sort of like, you know, plow through and watch all the Oscar nominees, sometimes the stickiness becomes an issue. The Cove wins.

The Cove is about dolphin slaughter in a way that, like, is certainly memorable. That's the one I'm not going to forget. They sneak all those cameras in and they have the cameras looking like they're rocks so that they can get footage of this slaughter. This is why Fisher Stevens, Hugo on Succession, has an Oscar.

He is one of the Oscar winners for the Cove. That stays. I really liked the Most Dangerous Man in America, Daniel Ellsberg and the Pentagon Papers. That was sort of the story that ultimately is told in the post and

I enjoy a good movie that tells me a little bit of something about history. You know what I mean? I am that kind of basic documentary viewer. Burma VJ is very good.

It's about the political revolution in Burma. Which Way Home is essentially about it's about migrants in Mexico sort of hitching a train

towards the border in the same way that like Sin Nombre was that same year, right? I don't know. Carrie Fukenaga's movie Sin Nambre which is very thematically similar. Obviously that's a fictional film. I'm booting food ink.

Foodink's an important movie. It had its heart in the right place. At some point I was like, all right, Foodink, that's enough. I get it. Everything's bad and everything's terrible. And, you know, there was a little bit of, I think I was maybe weary.

I mean, it's a populous. Well, I would say, you know, it makes sense when some of those movies get in there, but are they the most artfully made? Yeah. Not always. Yeah. Certainly, I'm never going to watch Food Inc again. I will watch every little step 50 more times before I die. So, yes, easy call for me, every little step, documentary nominee now in my heart.

What do you have next? Don't you see I'd be turning my back on everything I've ever known? Ron, isn't it enough that we love each other? No, Carrie, it isn't. It isn't enough for either of us. I have, uh, I think our oldest, uh, yeah, pick so far. It will not be our oldest pick in the entire month. All right. But, uh, this is one I feel very strongly about, uh, not only just as a fan, but I just don't understand how you could put, a human being in front

of this movie and not have them be like, well, that movie looks fucking incredible. Just the look of that movie is one of the greatest things I have ever seen. We're talking about best cinematography, brackets, color. Hello, we're going back to when

they were broken up between black and white movies and color movies for 1955. I'm talking about Russell Medi's work in all that heaven allows the Douglas Cirque melodrama that exists very much in my heart. It follows a woman who is widowed and very ingrained in her suburban life.

She has two children who are growing up themselves into adulthood, and she falls in love with a much younger man played by Rock Hudson. This is a movie that received no Oscar nominations. It is now a classic. It is my favorite Douglas Cirque movie. Obviously inspired things like Todd Haynes' far from heaven. But I think it also is a movie that has a lot of resonance for a lot of different reasons today. I watch it and it's just like you see the crushing heterosexuality and conformity of nuclear units

in the suburbs, et cetera. And this is, it's not just that she is in love with a younger man. It's that, you know, he's kind of a part of like a group of not weirdos, but like beatniks, you know, people who are somewhat on the fringes, people who aren't ingrained in family life, you know. So he represents just a completely different way of life that those other people don't accept, much less that, like, well, this is the 1950s. How could you be with this man who's so much younger than you?

And the thing about the cinematography in that movie, it's obviously these very, if you see any still from the movie, it's these very saturated colors and it's this very stark imagery in like casting blue over them.

It's like the essential, the ur-text of bisexual lighting at moments. But the visual of this movie, the lighting of this movie, the, you know, image framing of this movie all underscores everything that is happening emotionally in the text, you know, and a lot of the things that characters either don't have the language to say, they don't understand about themselves, specifically the protagonist, but also like didn't have language at the time to say, you know, but it is so, every image. of this movie is so incredibly emotional. I think the one that stands out for a lot of people is there's this whole thread on, she doesn't want a TV, she doesn't want a TV, and her kids are like,

but you should get a TV, it's great to consume. And she, they give her a TV, and she sees her reflection in the TV, and it's like a reflection of the life that everybody wants her to have. Yeah. And she just looks so sad in that reflection. Yeah. Yeah, best cinematography, all that heaven allows. If you've seen the movie, you're not going to argue with me. No, no. But who goes? Who goes? Who gets the trap? Interesting question. To Catch a Thief wins. Hitchcock's To Catch a Thief. Incredible-looking movie. You can't argue with the win. Guys and Dolls is nominated. Love is a Many Splendered Thing. A Man Called Peter and Oklahoma. Yes. These are, you know, it's a lot of technicaler, the type of thing you see with, you know, studio filmmaking in Technicolor at the time.

I mean, guys and dolls, I was tempted to boot because, like, even for a mid-century musical, like, I don't really think of the, the images are just kind of basic, but it's pretty. The one I'm going to boot is Love is a Many Splendor thing, not just because Jennifer Jones is playing Yellowface, but, like, it also. kind of doesn't do what all that heaven allows, which is also this melodrama romance and like all that heaven allows blows it out of the water

in every regard in terms of the imagery reflecting the emotion of it. So that's my boot. I mean, it's highly supportable. I've never seen love as a many splendid thing, but I believe you. I trust you. I mean, it's not good.

Okay. Okay. Now sit back, stay in your seats, and enjoy the Star Lassow Experience. Next up is me from one of our... With our most recent... I was going to say, from one of our least recent ones to our most recent. entry on the list. This is just from this past year

I tended to stray from the most recent years because obviously historical context matters a lot, but this is one where I'm not going to feel any differently about this in 10 years. This to me was the most baffling snub of the 2022 Oscar

season. This movie was blanked entirely, so we will be doing an episode on it at some point, and I will rave about it anew, but I'm just going to say right now It's absolutely insane that best sound did not have at least a nomination for the team from NOP, because that movie is not only impeccable on a sound level, but depends so heavily on the sound for so many elements. Johnny Byrne and Jose Antonio Garcia are the sound designers for this movie.

This movie is kind of sound design. the movie and like it has so many other attributes to it I mean it's also nope is so hard because you could have kind of slotted it anywhere it's also it's also cinematography yes 100% 100% absolutely production design the movie it's a movie about cinematography like for god's sake but so watching the movie a second time that I did a couple months ago the if only for the scene where the kid hides behind the, whatever, hides as the monkey is rampaging on the set of the sitcom, the sound in that scene where you know exactly what is happening just from sound effects in that scene and it's so, you're just terrifying and also gross and also like, ugh.

That scene when people are like, I can't do scary movies. Can I do nope? I'm like, nope,'s not, you're fine. If you can watch Independence Day, you can watch Nope. And then I'm like, oh shit, I just set them up for that scene, which is so fucking scared. But then also the scenes were like you can, you know, you hear people screaming from the distance and you hear the, you know, Stephen Yun's little ranch at the distance and the way that it mixes, you know, sounds moving from one place to the other and it's, you know, it mixes silence and then, which, you know, you would think would not be much of an achievement. for sound but like it's it's such a rich and layered and detailed soundscape in that movie and it contributes so much to the success for what's going on and you know you look at the other nominees last year and it's what sound has become which is a lot of sound big sound right top gun top gun maverick avatar the way of water the batman all quiet on the western front elvis a lot of sound a lot of sound in all of those things in a lot of different ways i would value nope higher than all of them um as to what one i'm going to get rid of

you know i get why all of them were nominated they all have very prominent sort of like sound escapes to you know what they're doing uh i'm certainly not going to get rid of Elvis because I think, you know, the music in that movie is, is deployed very well. For as much as I had very little use for Top Gun Maverick, I get that like planes go loud, zoom, zoom, you know, whatever, like, that's fine. I think I'm going to boot Alquine on the Western front just because, A, that movie had too many nominations, B, you know, I can only listen to bones crunching under the treads of tanks for so long. And I get that, like, that's what the movie called for, but, like, I can accept that and still

not throw it a nomination. Bad movie. I don't need any more nominations for Al Quine on the Western Front, even though it was never not going to get a sound nomination because, like, the sound nominators love war shit, and they love water. So, of course, Avatar was going to get

nominated, and of course Alquite was going to get nominated. So, but yeah, nope, it's better than all of them, but in particular, I'm getting rid of Alquite on the Western front. Now let's go back to, no, we have a call. It's Christmas. Joe, Joe, wake up, wake up.

You got to open your presents. It's Christmas morning. Oh, look, look, look. The Polar Express is back, Joe. How did we land on the Polar Expresses, the motif for our guests? It's going to change every episode. So to mention. The previous episode was Mr. Rogers' Neighborhood.

Today, it's the Polar Express. We're going to find something for the next one. But the Polar Express is here. And look, they brought us a guest. All right. Let's see who the Polar Express has brought us. Hey, Chris and Joe, this is Mitchell Beaupre from Letterboxed. And more importantly, from the After Hours episode of This Had Oscar Buzz,

while I'd love to talk extensively about any of the many snubs from that film, we've covered that ground thoroughly. So I'm going to take a moment to shine a light on 1995's Neo-No-No-Arm masterpiece from Carl Franklin, the Denzel Washington starring Devil in a Blue Dress. This PI classic didn't receive a single nomination, which is an absolute crime. And I want to give special attention to Don Cheeto's performance as Denzel's right-hand man, Mouse. Mouse is a character who is spoken about in hushed tones with an air of terror for the first half of the movie before we're even introduced to him. And when we do meet him, you immediately can't imagine how the movie existed without him in it.

Cheetle crafts of performance, equal parts unnerving, empathetic, and soulful. remarkable character and one that launched him in the early stage of his career to start picking up roles in films from PTA, Stephen Soderberg, and Moore. That year's nominees for Best Supporting Actor were Kevin Spacey and the usual suspects, James Cromwell and Babe, Ed Harrison, Apollo 13, Brad Pitt and 12 Monkeys, and Tim Roth in Rob Roy, which is honestly, let's be real, a pretty stacked line up, pretty good performances there, but I think Cheeto trounces any of them. If I had to strip one of them of the nomination, I'd go ahead and take it from the winner Spacey. Obviously, kind of an easy move considering, you know, all of the shit that comes with Kevin Spacey having

two Oscars and the legacy with that. But it's also a performance that I think is a arguably a leading role, and B, got a big boost simply from the major twist ending, leaving everyone thinking about the character's performance as much as they were thinking about Spacies. Pound for pound. I'd wager he's the weakest of the impressive lineup. So let's go back and take that trophy from him and give it to Cheeto instead. All right. Thank you very much. Love you guys. This is beautiful. This is perfect. When we got Mitchell to do this, I was like, what are they going to pick? And when this was like, of course, this is perfect. I should note. But it's a great pick. It's a great pick. Great analysis of this category.

I mean, I'm a big fan. I'm a big fan of the usual suspects still. I'm a big fan of Spacey's performance in the usual suspects still. But Mitchell makes a good case for why that's not as impressive as the other one. So I will say, well argued, well argued by our friend Mitchell Beauprey, for sure. With the caveat that I haven't seen Rob Roy, I thought so long ago. definitely vote Cheatel over all of these people, but of the ballot, I maybe just had the light bulb in my head that I would be voting for James Cromwell. I mean, it's a great performance. Cromwell's great.

Babe is a great movie. Rob Roy, another Jessica Lang movie, so let's be, let's, you know, be nice. Maybe, maybe she's great at it. Maybe, maybe. I sought forever ago. My mom loves that movie. Rob Roy is like a movie that I, like, the first thought of that movie is my mom loves that movie. Rob Roy was weirdly sold fairly heavily on Liam Neeson being a hot piece in a kilt. Like, for everything else that goes on in that movie. I mean, this was also the year of Braveheart. So, like, it was the other movie with an Aist bleeding man in a kilt, but. Braveheart with a lady.

Yeah, right, exactly. All right. So thank you, Mitchell. again, a fantastic choice, and go see Devil in a Blue Dress. It's a really good movie. Okay, so Chris, you are up next. Go and talk to Sister Cloder. She brought you here.

She can get you back again. Sister Cloder. Sister Cloder. You know what she says about you? Or whatever she said it was true. You said that because you love her. I don't love anyone. Cloder.

Cloder. Cloder. Clodagh. Clouder. Clouder. Clouder. I feel like every, first of all, have to take back what I said about all that heaven allows because it's not the oldest movie that we have on this episode.

This, that I am about to mention is. Though this one is still not the oldest movie that we will have in this lineup. Every, I think every episode in this miniseries, I will be having some type of horny nomination. That's your promise to us. I mean, kind of. When I think of horny acting, this is one of the performances that comes to my brain first, and partly because this is such a lurid kind of mousetrap of a movie. Because when you start this movie, it's like, okay, this is a little boring, what am I watching?

And then it quickly devolves into collective horniness and isolation, will drive everyone insane. We're talking about best supporting actress in 1947. I am talking about the unnominated Kathleen Byron for Black Narcissus. Black Narcissus is a movie that justifiably won two Oscars for art direction and cinematography. Like, there is a reason to believe in a religious deity if this movie can win Best Cinematography. It's like, it's cinematography. Again, cinematography of the movie.

Sure, sure. She plays Sister Ruth, who, uh, everyone has seen, like, screenshots and jiffs of the final scene of the movie. So it's not really a super spoiler. Essentially, you know, in 1947 terms, because they can't necessarily say it explicitly. It's a nunnery in the Himalayas and all of these white nuns go insane, uh, partially because of the, you know, horniness. and Kathleen Byron credited a lot of her performance to the way that the movie was lit and shot,

but there is such a physical minutia and this look in her eye that is, I think, one of the most haunting performances I have ever seen. If gay people watch it, it will be absolutely Slay Queen from her just like putting on lipstick. it's truly that level of physical arrestedness that I love this performance so much to the point where it's just like you see a screenshot of her in the final like 15 minutes of the movie and it's like yeah it's also great sweaty acting because before she you know she rids herself of her habit when she She is in her habit early in the movie, kind of going through her psychosis. Excellent, sweaty acting. Fantastic. I've never seen this movie.

It's been on my list forever. It's got to happen. You'll think it's boring for the first half hour. And then when the movie kicks into gear, I mean, it's a Powell and Pressburger movie. Of course, it's going to look incredible. Right. That's part of the avenue into the movie for people. But, like, one of my favorite third acts.

in all of movies. Yeah. So who goes? Oh, boy. It's a lot of movies I don't like. Okay. Let's hear it. In this lineup.

Because, okay, so your winner is Celeste Holm for Gentleman's Agreement, a movie that forgive me, I don't think is very good. Okay. Anne Revere is also nominated for Gentleman's Agreement. Gloria Graham, nominated for Crossfire. She slays. She's my pick to win. Okay.

Ethel Barrymore parody in case. And then Marjorie Mame for the near unwatchable egg and I. What is the egg and I about? She plays Ma Kettle. You know, the quintessential, everybody's heard of a Ma and Pa Kettle. Right. The Egani is a, like, it's, it's Claudette Colbert, her heart. husband decides to uproot their

life from the city and go live on a farm if it sounds like it is a sitcom it's because it's the worst sitcom you've ever seen it is like you know it's the time it's so I mean maybe at the time it wasn't a cliche but and it's not even

just like by viewing it through modern lenses this is a movie that sucks it's like none of these jokes land it's just kind of miserable there's no real justification or signs of love in this marriage that she would stick around with this man who just decides he can uproot their life.

Right. And even, I mean, all due respect to Marjorie Main, it is just like kind of cliche yokelism that I don't understand why it has an Oscar nomination. Right. Yeah. All right. It's a good choice. Stan, I can only sit and listen and learn. because obviously I've not seen these movies, but...

I don't want you to spend your precious time watching The Egg and I. Okay, all right, then I won't. I didn't realize Ma and Pa Kettle were, like, actual, like, characters and things. I just assumed that they were, like, yeah, constructs of whatever interesting. I mean, as the movie stands, basically just a construct of, like, yokel person. Right, right, right, yeah. All right, cool. I just can't seem to get go until later at night.

You think I want to be late? Those people deserve a show And you have no idea the hell that I've been through I am wishing there was any way on earth I could get go on my I just don't think I won't make it Promise me, Mama, when I die Have the coffin arrive half an hour late and on the side

Written in gold letters of the words Sorry for the delay I'm going to zoom a several decades forward in time For our next one for my pick is 2019 best actress should have been nominated but wasn't. We've talked about her

before. Elizabeth Moss in her smell, a performance that knocked me right on my butt. It's so much. It's so much. So much but exactly right. A performance

will definitely talk about in the future. I am very, very much a person who responds to big performances that are big because the movie requires them to be. And it's, I think it's a challenge. And I think it's, she puts her whole, she puts her whole self into this performance. It's, uh, she plays a very, very difficult and, and impossible to deal with rock star in a band called Something She.

She is Becky Something. and she is on drugs and she's also a massive narcissist and she is also either under the influence of a shaman or wants to project the image that she's under the influence of a shaman. So much of Becky in this movie is a performance on a performance on a performance, right? She is throwing in layers and she's trying to, keep everybody in her life off balance because that's how she maintains control of the situation and she's you know she's selfish and um and she's inconsiderate of other people but she's also

like antagonistic of them like that's the thing is like does she just not care or is she actively trying to like push everybody in her life away from her and then the movie sort of moves through these these different movements and moments in her life and towards the end of the movie we see she's gotten clean and she's gotten out of the music business and she's able to sort of reflect on everything that's gone on. And then in the final section of the movie, she's at this reunion concert and, you know, is she going to put herself back into this realm that caused her so much chaos and that brought out so much chaos in her for the to see if she can regain this rock star persona but under more you know under less dangerous

circumstances this time and it's like an incredibly it's so tense the end of like credit to Alex Ross Perry for the tension in that last section of the movie I you're terrified that she's going to regress and relapse and because and it's because I've grown so attached to her because of this Elizabeth Moss performance, which is so electric and enigmatic and visceral and vital. For all that viscerality and for all the heights that you've described, there's still this baseline of humanity. She doesn't feel like a character so much as a person.

Like, there's a lot of rigorous skill that goes into not just having these blowings. ups, you know, Becky something is human, too, in a way that allows her in this final stretch to be a question mark. Yeah. That is terrifying. For someone who was as big of a fan of Courtney Love through the 90s as I was, it's a great, it's a great performance. She's not playing Courtney Love, but she's playing someone of that stature, right? Right. I don't love most of the nominees in 2019 for Best Actress. I'm not a I don't, I'm not a hater of Judy.

I actually think Judy is a pretty okay movie and I think Renee Zelle Weger does a good job. I was happy. I think she's great. I don't love the movie. I was happy that she had the comeback that she got after sort of getting a lot of undeserved shit for a while. On a pure performance level, it's not the kind of performance I would give an Oscar to.

I think Charlize Theron in bombshell is a waste of a nomination in a movie that is not good. I love Charlize Theron, but like, no. I don't think Harry it's that good of a movie. And I love Cynthia Revo, and I'm glad that she's an Oscar nominee, but... Double Oscar nominee. Well, right, but an Oscar nominee, just the ones in acting.

So far, color purple coming... No, wait, she's not in the color purple. She's in Wicked. Right. Well, I'd give her better chances if she was in the color purple movie. Anyway, I don't like Harry. it very much. I think I like Cynthia Revo a ton, but I wouldn't nominate her.

Sertia, Little Women, yes. Scarlet, Marriage Story, yes. Otherwise, maybe sweep the category clean. So who's the one I get rid of? At the risk of being overly critical towards an actress I love, I already booted Charlize's North Country nomination in last episode. I'm going to boot her from bombshell for this one, too.

Listen, listeners, you can't say we hate Jessica Lang. Reid is now on the record. Shut up. Shut up. We just... He wants to take all good things away from her. Okay. All right. All right. Shaking it off. I'm shaking it off.

I maybe wouldn't have agreed with you on the North Country situation, but I wholeheartedly agree with you on this. Yeah. Bombshell's a bad movie. It's not her fault. She doesn't make it bad. I don't want to go so far as to say it's a non-performance, but like, take every... take everything of the transformation away, which the transformation, she still looks like

Charlie's Theron. Right. Yes. Yeah. What is there? There's not even like a big scene. Like, Margarabi has like three big scenes in that movie. Yeah.

And even Margarabi should be nominated for a different movie that year. She should have gotten nominated for once upon a time in Hollywood instead. But that's a different category and a different discussion, and we're not talking about that. But, yeah, so, yeah, Elizabeth Moss in Charlize Theron out. So say me. What she got next? Would you tell us the nature of your relationship with Mr. Boz? I had sex with him for about a year and a half.

I liked having sex with him. He wasn't afraid of experimenting. I like men like that. Men who give me pleasure. He gave me a lot of pleasure. We're sticking to Best Actress, and I'm still sticking in the horny acting lane. Okay. I'm here to talk about one of the most iconic performances of the 1990s, but also personal grudges that I hold against the industry.

Sure. We're talking Best Actress, 1992, Sharon Stone, in Basic Instinct. Let's do it. I mean, this performance, again, one of the most iconic things of the 90s, I think the treatment that Sharon Stone received for this movie, even though, as we've talked in previous episodes, yes, it's understandable that Sharon Stone is a lot, is entirely unfair. I think, I mean, we talked recently on this certain type of character and the type of lack of embrace or. you know, begrudging embrace that it maybe receives or the type of

misogyny that it's received with in our episode on The Last Reduction. And I mean, I think Sharon Stone is even better than Linda Fiorentino in that movie. This performance is so incredibly smart, so incredibly inviting. It's like this kind of

bear claw of a performance to the audience, you know. know, like bearclaw with a million dollars sitting at the middle of it. Like, of course, you're going to try to reach for that million dollars. Oh, so you don't mean the donut. You mean the actual bear claw. Gotcha, gotcha, gotcha, gotcha. Oh, I mean, I always mean.

There's always time for a bearclaw. Yeah, but like, just an incredibly commanding role, you know, and she makes it look so fucking easy in this movie. Just the brains of it. Like, even to the thing, but, like, holding a grudge against it is this whole idea of how she was treated. She's Golden Globe nominated for it, and when they announce her nomination, you have as much respectful applause as you have people laughing at it. And there's absolutely nothing to laugh about for a nomination for this performance. It's, you know, part of the reason why the movie, a huge reason why this movie has the success that it had.

as even, you know, the contentious relationship she would have had with Paul Verhoeven in the making of this movie. I mean, you can understand why an ill-fated sequel would happen just because she's such a fascinating character, given such a fascinating performance that I think 30 years later still stands the test of time, is still subversive, is still pushing buttons. And, you know, still doesn't break a sweat, except for when she's having sex. Told no lies. You've told no lies. It's exactly. You're exactly right. All right. Who do we boot from this 1992 actress lineup? This is probably the easiest decision I will make. Emma Thompson wins for Howard's End. Catherine Deneuve wins for Indochene, which I haven't seen, but didn't need to. I'll get to it. Mary MacDonald for Passion Fish, a performance we both love, a movie we both love. Indeed. Michelle Pfeiffer and Lovefield and Susan for Lorenzo's Oil.

My beloved Lorenzo's Oil I do not have the audacity to boot it for you But like I didn't I don't need to see Indochine I don't need to rewatch Lorenzo's Oil Michelle Pfeiffer's Lovefield nomination Is a bad nomination I know that that's a movie that hasn't been

Super Available so a lot of people don't see it But like we maybe don't talk about that As one of our worst acting nominations Okay And it's also like it's the same year as Batman Returns obviously because I threw Michelle on here for Age of Innocence, Batman Returns won't be on here, but it just not only is it a horrendous movie and a very not good performance in it,

but it also just kind of reeks of this performer being in this schmaltzy movie that is the type of thing that the Oscar would go for when like right next door is something that they're, you know, maybe not finger quotes cool enough to nominate. Lovefield is horrible And she's not good in it So that's the easiest boot for me Probably will have this whole month

Okay I want to do the trust coal and brandy wine And when all those fucking pigs are coming after me I want to split out the back I want to go down to Rotterdam And I want to do that first national You know something Luke If you're ride like lightning

You're gonna cry We're near in the home stretch here. Okay, so my next one is Best Cinematography from 2013, the egregiously snubbed Sean Bobbett for The Place Beyond the Pines. So this is another one where I'm going to direct you to one of our old episodes. Episode 146, we talked about the Place Beyond the Pines, Derek C.N. France's divisive 2013 movie. We talked a lot about the cinematography, how Sean. Bobbitt put his health and safety on the line to give some of those shots. He had a motorbike crash on his head at one point.

He thankfully made it through that okay. That movie looks tremendous. There are shots sort of tracking down, you know, following a, you know, Ryan Gosling on a motorbike that are tremendous. There's a chase scene through suburban streets that look. Looks just absolutely gorgeous and thrilling, and it is a tremendously shot movie. Again, go check out our episode on The Place Beyond the Pines. You Will Not Regret it. We get into some really interesting discussion in that movie, I will say, not to pat ourselves on the back or anything like that.

Fascinating movie. We love Sean Bobbitt. Wild that he has only won Oscar nomination to his name. Correct. Was it that same year? Was it 12 years of slave that same year? Well, okay, let me double check. I'm sure we talked about it on the episode,

but he's nominated for Judas and the Black Messiah. Right. He wasn't even nominated for 12 years of slave that year, which is shocking. Anyway, but we are writing for his less likely, but I think even better work in 2013, placed me on the pines. So the nominees that year,

that was, Emmanuel Lebeske finally wins his first Oscar. in 2013 for gravity after, you know, many bites at the apple, and finally the Academy comes around and gives them the Oscar for Gravity, an Oscar that is, you could say as much for visual effects as it is for cinematography, which is taking nothing away from Lebeske, who I think is one of our most talented cinematographers, and I think everybody's sort of come around to that fact. Other nominees are Philippe Lussured for the Grantmaster, Bruno Del Benel, for Inside Lewin Davis. Faden, Papa Michael for Nebraska, and Roger Deakin's Four Prisoners.

This, to me, is an easy call. I think there's a pretty easy call as well. I think even the movies that, like... I don't know if we'll agree, though. What's that? I don't know if we'll agree on the easy call, but tell me yours. I think for even movies that, like, I wish I liked inside Lewin Davis as much as everybody likes Lewin Davis, but, like, the cinematography in that movie is tremendous.

Prisoners, I think, is fun junk, and Roger Deacons does an incredible job with it. The Grandmaster is another movie that I'm maybe not fully on the wavelength with, but, like, it looks tremendous. I think Nebraska is a movie I like maybe a little bit more than some people like, but the cinematography doesn't impress me very much. It's a black and white movie, and I think sometimes black and white movies get overrated in cinematography. So I'm going to take away the nomination from Feeding Papa Michael for Nebraska. We agree. Yeah, I figured we would. I know you hate that.

It's not shot in black and white. It's not nominated there, period. Yeah, I think that's right. I think that's right. We don't really need to belabor the point, but yeah. All right. What is your next choice? Your last choice for this episode.

What's it going to be? Because I can pretend. Don't you want to be all than friends. on me tired and don't let go Don't let go Have you a right to lose the Don't let go Listeners

Joe Reed Have you ever been gay Are you a homosexual Do you like the sounds of women singing Do you like perhaps a torch song By women sung by women? Women Who Slai.

Listen, I'm talking about probably one of my top five songs ever, period. Sure. From 1996, best original song, The Motion Picture, Set It Off, as sung by Envogue, Don't Let Go, Love. I think this song was the first music video I ever saw on VH1. Uh-huh. Couldn't be a more simple music video, but they just, like, stand to do some music. Was this their last hit, their last charting, big charting hit? I don't know.

I feel like it comes at the end of the Unvogue era. Great movie. Great performances would be a worthy nominee for anyone in that foursome. This song is so good. And it's also like, was this up the era where you had. to like show the branch the song in context because if it is no it was before that they just got a full sex scene if they'd who is the sex scene and the reminds reminder it's jada and i think blair underwood it's not bad is a good sex scene i mean just a fucking banger of a song unimpeachable this is the era

where, you know, popular songs were getting Oscar nominations. But I have to, as a gay person, put this song on my list because I can't, I can't, I don't let go of this song. It is a quintessential 90s song to me. I just think it's a fucking banger and should have been nominated. I mean, yes. So Envogue had six singles that would chart in the Billboard Hot 100. This was the last of them. This came after, hold on, which peaked at number two.

My love and you're never going to get it, peaked at number two. Giving him something he can feel, which peaked at six, free your mind, which peaked at eight. What a man with Salt and Peppa, peaked at three, which is crazy to me because, like, how is that not a number one single? That song was fucking everywhere. And then don't let go love, also peaked at number two. So Envogue never had a number one Billboard Hot 100 single, which is kind of surprising. But they had three that peaked at number two. So the heartbreak of it.

All I'm saying is if the Academy frees their mind, the rest will follow. Very good. It's a great song. It's a great song. It's a top five favorite songs ever, period, for me. Love it. Have they ever done that as a lip sync for your life? Yes, they did.

It was Bosco and Lady Camden. There we go. I think that lip sync is a little overrated, and I think the kind of, like, awe people had for it really just kind of speaks to what a tremendous fucking song it is, that the song just has this kind of, like, red hot, focused power that just, like, sucks your attention into the high intensity and sexuality of the song. song like basically both of those queens kind of just park and bark it which i can see the temptation for that song yeah yeah right like uh you got to get it's about giving the emotion uh right but right right okay i also feel like i'm maybe giving away my boot in this category offhand because like this is almost so close almost so close to being a full lineup of like popular hit songs on the radio lineup of an original song category. And I'll just

say the one I'm booting is for the first time from one fun day. I think that's the right call. It's the right call. But like the winner is you must love me from Evita. Kind of a snoozy song, but it's fucking Madonna. It's, I know. I really, for as much as I appreciate a lot of things about that Aveda film, you must love me is a low point, I think. I finally found someone from The Mirror Has Two Faces, because you loved me from up close and personal. And that thing you do, from that thing you do, I've said this before, I still stand by it as the nominee's stand.

That would be my vote to win, rest in peace, Adam Schlesinger. Yeah. But, like, you have don't let go in that lineup. And it's like nothing but radio hits. Yeah. And you also have your choice of Bet Midler, Goldie Hans, or Diane King saying, Don't Let Go, Love, from Set It Off. Which, okay, which of those three do you want saying, don't let go?

Goldie. Because Goldie would say it like that. She would say, don't let go, love. From the movie, Set It Off. Yeah. That's exactly what I want. Not that I would want something that I would vote for to win over it that. thing you do. But yeah, I mean, no, it turns it, it changes the category into something

really, really special, actually, yeah. Because you got your Diane Warren in there, you got your Andrew Lloyd Weber in there, you've got, like you said, Adam Schlesinger, and Barbara and Brian Adams and Muttling. A good Brian Adams song instead of, have you ever really loved a woman? The worst song. I finally found someone. Music and lyrics, it's by Barbara Streisand, Marvin Hamlish, Brian Adams. Adams and Mutt-Lang. Like, that's kind of an all-star lineup to throw in for one song. So, yeah.

All right. So you're booting. Yeah, you're booting for the first time. Sorry, James Newton-Howard. Sorry. Was it Kenny Loggins who sang that song? Yeah, it's not like it's not a not famous person singing the song. But Kenny Loggins had footloose.

He had, you know, highway to the danger zone in the 80s. He's fine. He's doing fine. I think that's the right call. All right. Bring us home, Joe Reed. What are we closing out this episode with? So, come up to the lab and see what's on the slab. I see you shiver with anticipation.

Well, we're going to go back to the 1970s. This is not dissimilar from your nomination for Divine, for hairspray, actually. I'm going to nominate in the best actor category for 1975, Tim Curry for a little film called The Rocky Horror Picture Show. A movie we talked about on our screen drafts, our very first screen drafts when we did drag films that ended up somewhat accidentally as our number one, even though I'm not mad about it.

Tim Curry as Dr. Frankenfurter in Rocky Horror Picture Show was never, certainly never in the Oscar conversation. That movie was a flop. That movie had to be reclaimed via, you know, midnight showings and a true cult groundswell that was, that basically all other cult groundswells strive for what Rocky Horror Picture Show had and nothing's ever attained that level. Sorry, even Rowdy Cat's screenings. The pandemic kind of nipped that one in the bud. Okay. So it's not just that it's a this like wild.

I'll do Trey performance or whatever. It's also, it's the whole kitten caboodle, right? It's, it's, you know, appetizer meal and dessert. It's everything. The way he announces his presence, Tim Curry, in this movie, stomping his boot in that elevator, and then emerges and does sweet transvestite is a moment in time. a star vehicle thing that is leading performer energy, that is main character energy. And everything else from the movie kind of emanates from that, from that absolute control

over what's happening on screen. The character moves into, you know, the character is imperious, but also petulant, but also, you know, mischievous and then ultimately sad, and then ultimately tragic. And Curry never less than fully invests in the character, never looks down at the character, never sort of plays down

to the character in a condescending way. And it's one of those things that exists, has existed in pop culture for so long that you kind of take for granted that it's an actor giving a performance who had to like find this character and find

the energy and wavelength that he was going to, you know, perform this character at. And it's, uh, has, he's been rewarded by, you know, being indelible in culture forever now. And, and I'm just saying that along with that, we could also give him the award of an Oscar nomination, you know, retroactively from this little project of ours. Um, I don't know. There's a reason why revivals, uh, you know, tributes of Rocky Horror. only have, there's a very low ceiling to success, and it can't really become more successful than that. And I think it's because Tim Curry's performance is one of the handful that it's like, it's just so iconic that you are constantly, for anyone else to do it, you're constantly chasing exactly that.

Like, you can't even do variations, but then even if you're doing, you're chasing that glory, you're never going to be Tim Curry. Right. So in terms of the nominees that year. So this is another year where I have not seen all the nominees, unfortunately. I did not have time to correct all my blind spots. Jack Nicholson wins for One Flew Over the Cuckoo's Nest, one of the definitional Jack Nicholson performances in one of the sort of definitional movies in the 1970s. Al Pacino was nominated for Dog Day Afternoon. Would have been my vote to win, I think. Again, a lot of things in this world, would have been different and maybe better if Pacino just wins for Dog Day Afternoon in 1975. We can, you know, think about that and travel down that road. I've never seen The Sunshine Boys, the movie that George Burns wins his sort of late in life Oscar for. Walter Mather was nominated and Best Actor for that. Maximilian Schell was nominated for a movie called The Man in the Glass Booth, which was an Arthur Hiller movie, about, I don't know. Oh, he plays a Nazi death camp survivor, it's looking like.

I don't know. I've never seen The Man in a Glass booth. And then James Whitmore plays... It's like, is this a movie about the Pope? It's a movie about Ron Burgundy, in fact. It's the glass case of emotion. James Whitmore, who I mostly know as the guy from the Shawshank Redemption, played Harry Truman in a movie called Give a Me.

hell hairy exclamation point and see that's why I'm bumping that nomination because just from the title you're just sort of like it's a Harry Truman biopic right it's I don't know man like I don't know

I this is this is me the two you've seen you're not bumping I'm absolutely not bumping those two I've seen Walter Mathau and I've seen the Sunshine Boys and I would say you could boot Walter Mathau for that yeah okay um but I think we're all probably going to agree

with booting a Henry Truman Biopic. Yeah. Harry Truman Biopic. No, you know, nothing against James Whitmore, but also he's, you know, he passed away in 2009, so he's not going to hold it against me. And, you know, friends and family of the late James Whitmore, you know, grant me some mercy, I guess. Yeah. Ultimately, I think Curry slots in

over almost everybody. Pacino's still my number one in that category. I think he's a tremendous in Dog Day Afternoon. But, yeah, I think ultimately we are a richer and more interesting culture if we had nominated Tim Curry in 1975 for a movie that had bombed horrifically and nobody ever wanted to talk about it again at that moment. Chris, that is our 20th entry for you and I for today. So that is our part two. Do you want to run us down the list of nominees that we have added to the historical record through this episode? As a recap from Part 2 of our 100 years 100 snubs, Iko Ishioka for the Cell, Best Costume Design 2000,

Jennifer Garner and Juno, Best Supporting Actress, 2007. If Beale Street could talk, Best Picture, 2018. Vindicated from Spider-Man 2, Best Original Song, 2004. Jim Carrey, the Truman Show, Best Actor, 1998, David Fincher's Zodiac, Best Director, 2007. Divine, in Hairspray, Best Supporting Actor of 1988. Velvet Gold Mine for Best Makeup, 1998. Ray Arbigas for The Thing, Best Visual Effects, 1982.

Meg Ryan, In When Harry, Met Sally, Best Actress of 1989, Edward Young's, Yee, Best Director, 2000. Every Little Step, Best Documentary Feature, 2009. Russell Medi, All That Heaven All That Heaven Allow, Best Cinematography, Color, 1955. Nope, Best Sound, 2022. Kathleen Byron, Black Narcissus, Best Supporting Actress, 1947. Elizabeth Moss, Her Smell. Best Actress, 2019.

Sharon Stone, Basic Instinct, Best Actress, 1992. Sean Bobbitt, The Place Beyond the Pines, Best Cinematography, 2013. Don't Let Go, Love, from Set It Off, Best Original Song, 1996, and Tim Curry, from the Rocky Horror Picture Show, Best Actor of 1975. We also want to thank our guest contributions. Matt Jacobs voted for Kathleen Turner in Serial Mom. Best Actress, 1994, and Mitchell Boprey says Don Cheatel in Devil in a Blue Dress, Best Supporting Actor of 1995.

All right, Chris, that is part two of 100 years, 100 snubs. We are two-fifths of the way there. We have three more episodes to go. Listeners, we hope you are enjoying this ride we are taking you on through cinematic snubbery throughout the years. That is, though, that is our episode. If you want more ThisHad Oscar Buzz, you can check out the Tumblr at ThisHadoscurbuzz.com. You should also follow us on Twitter at had underscore Oscar underscore Buzz and on Instagram at This Had Oscar Buzz. Chris, where can the listeners find you and your stuff?

You can find me on Twitter and Letterbox at Krispy File. That's F-E-I-L. I am on letterboxed and Twitter at Joe Reed, read-spelled REID. We would like to thank Kyle Cummings for his fantastic artwork and Dave Gonzalez and Gavin Mavius for their technical guidance. Please remember to rate, like, and review us on Spotify, Apple Podcasts, Google Play, Stitcher, wherever else you get podcasts. A five-star review in particular really helps us out with Apple Podcasts visibility. So remember when everything was beautiful at the ballet, at the ballet, at the ballet, and write us a nice review, won't you? That is all for this week, but we hope you'll be back next week for more snubs.

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