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The nominated Oscar shorts come in three categories — and a lot of subjects, styles and temperaments. It’s further proof that an award dictated by length needn’t be bound by anything else.

In the live-action category, a mixed bag of approaches — some inspired by classic literature — are burnished by inspired performances. Lee Knight’s “A Friend of Dorothy” may be a tad on the nose about the cultural and emotional impact of a lonely London widow on a closeted teenaged boy. But leads Miriam Margolyes and Alistair Nwachukwu practically shimmer with humor and warmth. “Jane Austen’s Period Drama,” a loving tweak of the writer’s oeuvre from Steve Pinder and Julia Aks (who also stars), is essentially a one-joke calling card to make feature comedies and it should do the job. Its cast is exactly the sprightly ensemble needed to land its what-if laughs.

Two others just miss the mark in terms of bringing their tensions to powerful resolutions yet benefit from who the camera adores. Meyer Levinson-Blount’s “Butcher’s Stain,” centered on a flimsy accusation against a friendly Palestinian butcher in an Israeli market, undercuts its gripping story with lackadaisical filmmaking and an unnecessary subplot, but lead Omar Sameer is commanding. The black-and-white future shock “Two People Exchanging Saliva,” directed by Natalie Musteata and Alexandre Singh, is an uneven Euro-art bath of unrealized intimacy and casual violence — kissing is punishable by death, slapping is currency — but is given exquisite tautness by the elegant, unrequited swooniness of stars Zar Amir and Luana Bajrami.

A scene from “Jane Austen’s Period Drama,” nominated in the live-action short category.

(Roadside Attractions)

Then there’s my favorite, Sam A. Davis’ likely winner “The Singers,” from Ivan Turgenev’s short story, which pays off handsomely in bites of soulful warbling that briefly turn a barroom’s den of anesthesia into a temple of feeling.

Most of this year’s documentary nominees deal with the grimmest of tragedies, as in “All the Empty Rooms” and “Children No More: Were and Are Gone,” which address the remembrance of children brutally killed. The former film, from Joshua Seftel, follows CBS correspondent Steve Hartman and photographer Lou Bopp on an essay project into the bedrooms of kids gunned down in school shootings, their private worlds heartbreakingly preserved by their families. The latter short, directed by Hilla Medalia, witnesses Tel Aviv’s silent vigils for Gaza’s children, protests marked by posters with beaming faces, and sometimes met with open scorn. These are dutiful, sobering acts of mourning — Seftel’s is the probable awardee. You may wish they were more than that, however, considering the issues (guns, war, political intransigence) that created the devastation.

Combat is what drove award-winning photojournalist Brent Renaud, killed in Ukraine in 2022. But his brother Craig’s memorializing of him, “Armed Only With a Camera,” is oddly uninvolving, more an excerpted flipbook of Brent’s far-flung assignments than a meaningful portrait of excelling at a dangerous job. A more affecting real-world dispatch (and my pick, if I could vote) is “The Devil Is Busy,” directed by Christalyn Hampton and dual nominee Geeta Gandbhir, also up for the feature “The Perfect Neighbor.” It observes a day in the operation of a carefully guarded, female-run Georgia abortion clinic as if it were a newly medieval world’s last chance healthcare outpost, getting by on grit, compassion and prayer. You certainly won’t forget security head Tracii, the clinic’s heavyhearted knight and guide.

A scene from “Perfectly a Strangeness,” nominated in the documentary short category.

(Roadside Attractions)

Your chaser is Alison McAlpine’s appealing, aptly titled “Perfectly a Strangeness,” sans humans, but starring three donkeys in an unnamed desert happening upon a cluster of hilltop observatories. The whir of science meets the wonder of nature and this charming, gorgeously shot ode to discovery (both on Earth and out there) makes one hope the motion picture academy sees fit to recognize more imaginative nonfiction works going forward.

Animation, of course, thrives on the thrill of conjured worlds, like the one in Konstantin Bronzit’s wordless (but not soundless) desert island farce “The Three Sisters.” It owes nothing to Chekhov — though there are seagulls — but much to a classically Russian sense of humor and a Chaplinesque ingenuity. Elsewhere, you can watch the overly cute Christian homily “Forevergreen,” from Nathan Engelhardt and Jeremy Spears, about a nurturing tree, a restless bear and the dangerous allure of potato chips. The message gets muddled but this eco-conscious journey is charming.

It’s tough to predict a winner when the entrants are this strong, but John Kelly’s “Retirement Plan” feasts on wry relatability, as Domhnall Gleeson narrates a paunchy middle-aged man’s ambitious post-career goals, while the cascade of deadpan funny, thickly-lined and mundanely hued images stress a more poignant, finite reality. In its all-too-human view of life, this is, entertainingly, whatever the opposite of a cloying graduation speech is.

A scene from “Retirement Plan,” nominated in the animated short category.

(Roadside Attractions)

The spindly aged-doll puppetry in the stop-motion gem “The Girl Who Cried Pearls” marks a sly fable of need, greed and destiny, centered on a wealthy grandfather’s Dickensian fashioning of his poverty-stricken childhood in early 19th century Montreal. Filmmakers Chris Lavis and Maciek Szczerbowski find an enchanting balance between storybook allure and adult trickery. Maybe this one steals it?

Whichever the case, the animation that moved me the most is “Butterfly,” from Florence Miailhe, imagining the last, memory-laden swim of Jewish French-Algerian athlete Alfred Nakache, who competed in the Olympics before and after the Holocaust. In the cocooning fluidity of an ocean-borne day, rendered with thick-brushed painterliness and splashes of sound, we travel across flashes of community, injustice, achievement, love and despair. The visual, thematic constant, though, is water as a haven and a poetic life force that feeds renewal.

New England Patriots receiver Mack Hollins has arrived to NFL games in some pretty interesting outfits.

His Fred Flintstone and Animal (from the Muppets) costumes worn during past pregame tunnel walks leap to mind.

None of that, however, quite compares to the look he sported before Super Bowl LX. Hollins entered Levi’s Stadium on Sunday wearing a maroon prisoner’s jumpsuit, shackles on his wrists and ankles, and a plastic mask covering his face from the nose down, similar to the one worn by Hannibal Lecter in “Silence of the Lambs.”

The back of Hollins’ shirt read “Range 13.” According to Ben Volin of the Boston Globe, that’s a reference to a special set of cells at a Florence, Colo., Supermax federal prison reserved for prisoners who need the tightest security.

The facility has been called “the Alcatraz of the Rockies” — so maybe Hollins’ outfit is a nod toward the Super Bowl being held in somewhat close proximity to the former (for now, at least) federal prison in the San Francisco Bay.

Also, Hollins wears jersey No. 13, so it could be a reference to that as well. The front of his shirt featured the prisoner number “P-131311” and that could possibly mean … something?

Speaking of football jerseys, Hollins also was carrying one from Walsh Jesuit High School bearing the number 84. That one is actually easily explained — it’s the high school jersey (or, presumably, a replica of it) once worn by Patriots coach Mike Vrabel. Hollins went on to wear the jersey during warmups before Sunday’s game.

New England Patriots wide receiver Mack Hollins wears coach Mike Vrabel’s high school jersey while warming up before Super Bowl LX.

(Sue Ogrocki / Associated Press)

One other thing to note about Hollins’ attire for his stadium entrance and during warmups — he wasn’t wearing shoes. That might have been the least surprising aspect of Hollins’ pregame looks since he has been known to wear shoes only when absolutely necessary.

“Everyone should be barefoot,” Hollins told NBC Sports in 2023. “You don’t see people walking around in mittens.”

He added: “Shoes are definitely dirtier than feet. Because I wash my feet all the time. When’s the last time you washed the bottom of your shoe?”

So, yeah, Hollins is a pretty quirky guy. According to Frank Schwab of Yahoo! Sports, Hollins does not eat vegetables, avoids drinking water (his preference is watermelon juice) and prefers to eat with his hands rather than use utensils.

“He’s probably No. 1 on the unique list,” Patriots receiver Stefon Diggs said of Hollins during Super Bowl week. “He’s actually taught me a lot. Alternative medicines, things he does, things he eats, how he moves on the daily. He is definitely one of my different teammates.’”

New England Patriots receiver Mack Hollins catches a pass as Seattle Seahawks’ Riq Woolen defends during Super Bowl LX on Sunday in Santa Clara.

(Charlie Riedel / Associated Press)

In eight NFL seasons, Hollins played for the Philadelphia Eagles (winning a Super Bowl ring following his rookie season in 2017), Miami Dolphins, Las Vegas Raiders, Atlanta Falcons and Buffalo Bills before signing with the Patriots last offseason.

Hollins was the Patriots’ leading receiver during their 29-13 loss to the Seattle Seahawks at Super Bowl LX. He had four catches for 78 yards, including a 35-yard touchdown reception from quarterback Drake Maye in the fourth quarter.

Were you ready for some non-football consumerism? Ready or not, the Super Bowl’s annual blitz of commercials landed before and during the Seattle Seahawks and New England Patriots defense-first matchup, with some ads served up in advance while others were unveiled for the first time during the game. As in previous years, there were serious clunkers (looking at you Bud Light rolling keg ad), but also a few that transcended their buy-more mission (may you live forever, Melissa McCarthy). Other trends we noticed: celebrities double dipping to appear in more than one Super Bowl commercial (three if you’re Sofía Vergara), lots of borderline-gross humor (exploding heads, singing clumps of shaved body hair, singing toilets and plenty of ads trying to convince America that artificial intelligence tools aren’t a waste of time and energy).

While many of this year’s ads promoted AI and the usual rah-rah-America nods to patriotism, one trend we noticed was that the longer versions for some of the best Super Bowl ads, found online, were even better than the condensed cuts that made it to broadcast. What if next year, we make the Super Bowl three quarters and the commercial breaks 15 minutes long? Any takers?

While we wait for that brilliant idea to make it to the NFL’s offices, here are the big game ads we loved the most and a few that fumbled the ball — big time.