Oscar

An Oscars slugfest for the ages ran its course, with “Sinners” and “One Battle After Another” duking it out and tallying up wins while the low but steady hum of host Conan O’Brien’s patented brand of weirdness tied the room together. A few unnecessarily curt speech interruptions threatened the calm, but mainly, this was a smoothly run machine of a show, devoid of mishaps. Even the rare circumstance of a tie was handled expertly by live-action-short award presenter Kumail Nanjiani, never bringing to mind the immortal confusion of “Moonlight” vs. “La La Land.”

But what didn’t make it to the telecast? Here are some flavorful takeaways — small yet memorable — that stick in mind from our several reporters in the room on Sunday.

A parade of praise for Jessie Buckley

Jessie Buckley arrives on the red carpet at the 98th Annual Academy Awards.

(Myung J. Chun / Los Angeles Times)

As she strode through the lobby of the Dolby Theatre pre-show, Jessie Buckley, nominated for lead actress for her role in “Hamnet,” was fanned with praise by other attendees. Even in the restroom, she couldn’t escape the well-wishers. On her way back to the buzzing lobby, she held the train of her red and pink Chanel gown graciously saying, “Thank you, thank you.” — Brittany Levine Beckman

The pressure’s off for stars during commercial breaks

Elle Fanning and Demi Moore hug during the 98th Academy Awards.

(Robert Gauthier / Los Angeles Times)

During the telecast’s first commercial break, supporting actress nominee Elle Fanning of “Sentimental Value” took her loss in stride and leaned over her seat to chat with former “A Complete Unknown” costar Timothée Chalamet, nominated this year for “Marty Supreme,” and his partner, Kylie Jenner.

Across the aisle, “One Battle After Another’s” Leonardo DiCaprio stood up and reached over to lock fingers with Benicio Del Toro. — Yvonne Villarreal

The Oscars address inflation with a goodie box

A note from Conan O’Brien left for attendees in snack boxes.

(Jessica Gelt / Los Angeles Times)

Each year, guests at the Academy Awards are given a small cardboard box of snacks left beneath their seats to get them through the always lengthy ceremony. A note from the host is generally inside. This year’s note, signed by Conan O’Brien, read, “I hope you enjoy this Conan O’Brien ‘Moderately Happy Meal’ ™. These snacks may not look like much but in any movie theater they would run you $85.” The snacks in question were a box of Junior Mints (Times reporter Josh Rottenberg got Raisinets), a small bag of Skinny Pop and a tin bottle of water. — Jessica Gelt

Jesse Plemons won’t succumb to ‘peer pressure’

Kirsten Dunst and Jesse Plemons arrive at the 98th Academy Awards at the Dolby Theatre in Hollywood.

(Myung J. Chun / Los Angeles Times)

“Bugonia” star Jesse Plemons stood near the main lobby bar talking with friends and posing for pictures with fans while finishing the dregs of a drink. A server approached him and asked if he’d like another. Plemons politely declined and the server laughed, saying, “Sorry, I didn’t mean to give you any peer pressure.” — Jessica Gelt

Amy Madigan inquires about press room rules; ‘Is it like bingo?’

Amy Madigan after winning the Oscar for supporting actress for “Weapons.”

(Kayla Bartkowski / Los Angeles Times)

After taking the stage to accept her first Oscar win for “Weapons” on Sunday, Amy Madigan paused operations in the press room to ask how moderators decide who gets to ask questions of the night’s winners.

“Is it like bingo?” the actor asked. As laughter swelled across the crowd in response, she clarified hers was a “serious question.” — Malia Mendez

After a loss, Stellan Skarsgård knows the meaning of ‘Sentimental Value’

Megan Everett-Skarsgård and Stellan Skarsgård at the 98th Annual Academy Awards.

(Myung J. Chun / Los Angeles Times)

Stellan Skarsgård, of “Sentimental Value,” enjoyed a cocktail in a VIP room just off the main auditorium fresh off of losing the Oscar for supporting actor to Sean Penn for his performance in “One Battle After Another.”

Fans rushed Skarsgård anyway, shaking his hand and telling him how much his performance as a troubled alcoholic father and artist resonated with them. “We had four actor nominations on an international film,” Skarsgård told one of them. “That’s never happened before.” — Jessica Gelt

Two of this Oscar season’s tallest figures share a moment

During a commercial break, 6-foot-5 “Frankenstein” star Jacob Elordi and 6-foot-6 Oliver Laxe, director of international feature nominee “Sirāt,” greeted one another at the lobby bar. The pair, who have been impossible to miss as two of the tallest people at various events throughout awards season, shared a warm, high-altitude embrace and Elordi introduced the French-born Laxe to his date for the Oscars: his mother, Melissa. — Josh Rottenberg

‘The Singers’ and ‘Two People Exchanging Saliva’ winners are happy to share their Oscars success

From left, producer Jack Piatt and director Sam A. Davis, makers of “The Singers,” pose with Natalie Musteata and Alexandre Singh, co-directors of “Two People Exchanging Saliva.” All of them won Oscars for live-action short.

(Kayla Bartkowski / Los Angeles Times)

Gasps erupted in the press room after presenter Kumail Nanjiani announced the seventh-ever tie in Academy Awards history Sunday evening, between live-action shorts “The Singers,” directed by Sam A. Davis and produced by Jack Piatt, and “Two People Exchanging Saliva,” directed by Alexandre Singh and Natalie Musteata.

Speaking to the press room after the ultra-rare event, Piatt was unbothered and even enthused by the outcome, saying he wished there could be a “five-way tie” among all the category’s nominees.

Davis agreed, confiding that he’d previously told the “Two People Exchanging Saliva” team “in confidence, that if we lost, I hope we lost to them.”

Shortly thereafter, Musteata said tying with “The Singers” folks was “such a dream.”

“Someone on Reddit asked us if we would be happy to share the award, and we were like, ‘Heck yeah, we would love to share it with another film that is equally beautiful and totally different.’ ” — Malia Mendez

Elle Fanning soothes Timothée Chalamet after lead actor Oscar goes to Michael B. Jordan

Elle Fanning talks with Stellan Skarsgård during the 98th Academy Awards. Timothée Chalamet was seated in front of Fanning during the show.

(Robert Gauthier / Los Angeles Times)

When Michael B. Jordan walked off stage and the show went to commercial break, Timothée Chalamet, who was up against Jordan in the lead actor category, took a sip of his drink as Elle Fanning, sitting behind him, gave him a pat on the back.

Fanning talked to her “A Complete Unknown” co-star throughout the night, who barely turned around to look at her. Kylie Jenner kept rubbing and patting Chalamet’s hand while he nervously jiggled his right leg. — Yvonne Villarreal and Jessica Gelt

Autumn Durald Arkapaw receives standing ovation in press room after historic win

Autumn Durald Arkapaw accepts the Oscar for cinematography for “Sinners” — the first woman to win the award.

(Robert Gauthier / Los Angeles Times)

“Sinners” shooter Autumn Durald Arkapaw on Sunday became the first woman to win the Oscar for cinematography. As she arrived backstage following her historic win, the press room erupted into applause, with many reporters delivering a standing ovation.

Arkapaw was equally thrilled, telling the room, “A lot of little girls that look like me will sleep really well tonight.”

“I heard Karen O say once at a concert… ‘You have to see you to be you,’” she said. “Ryan gives us, the women on this film, and our heads of department, he gives us those opportunities to shine and be ourselves and work in a creative environment where we’re leading.”

Such trust is rarely extended by directors, Arkapaw said, and she is grateful. — Malia Mendez

Oscar winner Pavel Talankin called for ‘an end to all wars’ as he received the best documentary award for “Mr Nobody Against Putin”.

“Sinners” entered the night with the record for the most Oscar nominations for a single film, with 16.

It leaves with four awards, won by Ryan Coogler for original screenplay, Michael B. Jordan for lead actor, Autumn Durald Arkapaw for cinematography and Ludwig Göransson for score. Arkapaw became the first woman to ever win in her category.

It seemed every time the film’s title came up during the broadcast there would be cheers and a swell of emotion from the audience. The live performance of the nominated song “I Lied to You” re-created the fantastical moment from the film in which generations of musicians collide, weaving together past, present and future.

Since its release in April of last year, the film has been a cultural touchstone and point of extended conversation on its way to some $370 million in worldwide box office. Among this year’s best picture nominees, only “F1” earned more, with $631 million. When Oscars host Conan O’Brien mentioned the name of the film in his opening monologue, it generated a huge ovation from the room.

Directed and written by Coogler, the film tells the story of twin brothers, Smoke and Stack, both played by Jordan. On the opening night of their juke joint in 1930s Mississippi, they are beset by a small band of vampires, intent on turning everyone inside into bloodsuckers.

In accepting his lead actor award, Jordan thanked Warner Bros. executives Mike De Luca and Pam Abdy “for believing in this dream, this vision of Ryan Coogler and betting on the culture and betting on original ideas and original artistry.” (Including its Oscars for “One Battle After Another” and “Weapons,” Warners Bros. ended the night with an 11-Oscar tally, tying the record for most wins by a single studio.)

Across what seemed an extremely long awards season — a run that was even longer for “Sinners” due to its spring release date — the film had many ups and downs. But its momentum seemed to be peaking at just the right time, as seen with the crucial wins for Jordan and the cast at the Actor Awards on March 1.

Regardless of how one feels about its final tally at the Academy Awards, the movie has already firmly established its continued relevance. As The Times’ Greg Braxton recently wrote, “‘Sinners’ is now being increasingly hailed in Hollywood as a groundbreaking symbol of Black artistic excellence, as well as a timely pushback to the divisive political climate that has reached fever-pitch proportions.”

Sean Penn won the supporting actor Oscar on Sunday night for his performance as the ruthless, racist Col. Steven J. Lockjaw in Paul Thomas Anderson’s “One Battle After Another.”

The win marks the third Academy Award for the 65-year-old Penn and his first in the supporting category. He previously earned lead actor Oscars for “Mystic River” (2003) and “Milk” (2008), and had been nominated three other times in leading roles before this year. He beat out fellow nominees Benicio Del Toro for “One Battle After Another,” Jacob Elordi for “Frankenstein,” Delroy Lindo for “Sinners” and Stellan Skarsgård for “Sentimental Value.”

With his victory, Penn joins Meryl Streep, Jack Nicholson, Ingrid Bergman, Daniel Day-Lewis, Frances McDormand and Walter Brennan as three-time Oscar winners for acting. Katharine Hepburn is the only four-time acting winner.

Penn, who delivers a volatile, darkly comic performance in Anderson’s sprawling political thriller, emerged as the race’s front-runner after a surprise victory at the BAFTA Awards and the Actor Awards, whose voting body overlaps heavily with the motion picture academy.

Sean Penn did not attend the Oscars, so presenter Kiernan Culkin accepted the award on Penn’s behalf.

Hollywood’s biggest night is here, along with the biggest red carpet of awards season.

Not only is it massive in size — it takes about 2,400 hours and more than 400 workers to assemble the 25,000-square-foot red carpet, measuring 900 feet long and 60 feet wide — but enormous in influence. It boasts the most memorable, stylish and extravagant fashion in entertainment history. In fact, stars have been taking cues from Hollywood history at precursor awards shows. Old Hollywood glamour dominated January’s Golden Globes. And the Actor Awards, held two weeks ago, were themed “Reimagining Hollywood Glamour from the ‘20s and ‘30s.” So the Oscars red carpet may also pay homage to La La Land.

Lead and supporting actress nominees Jessie Buckley, Kate Hudson, Emma Stone, Elle Fanning, Wunmi Mosaku and Teyana Taylor have already won in the style department and are sure to impress yet again. All eyes will also be on dapper actors Michael B. Jordan, Timothee Chalamet, Delroy Lindo and Jacob Elordi.

Here’s the best fashion from the 2026 Oscars, captured from every angle by The Times’ photo team. After the carpet wraps, the 98th Academy Awards will air live from the Dolby Theatre on ABC starting at 4 p.m.

READ MORE: Winners list | Full coverage

Ji-young Yoo

Ji-young Yoo, who voices Zoey in “K-Pop Demon Hunters,” is pretty in purple.

(Christina House / Los Angeles Times)

Kevin Grandalski and Marlee Matlin

Marlee Matlin and husband Kevin Grandalski, a retired Burbank police officer, arrive on the red carpet. Matlin won the lead actress Oscar in 1987 for her debut film, “Children of a Lesser God.”

(Myung J. Chun / Los Angeles Times)

Mario Lopez

Mario Lopez arrives on the red carpet. The actor’s talk show “Access Hollywood” was abruptly canceled on Friday after nearly 30 years.

(Myung J. Chun / Los Angeles Times)

Nadim Cheikhrouha

French Tunisian film producer Nadim Cheikhrouha wears an Artists4Ceasefire pin, designed by Shepard Fairey. The collective of actors and filmmakers is advocating for a ceasefire in Gaza.

(Myung J. Chun / Los Angeles Times)

Ken Jeong

“The Masked Singer” host Ken Jeong is all smiles.

(Christina House / Los Angeles Times)

THE OSCARS is back for another year, and will see the crème de la crème of Hollywood clamouring to snatch one of those famous golden statues.

But despite the prestigious nature of the Academy Awards, they don’t always guarantee an A-list life forever in Tinseltown – as these past winners have found out…

Mo’Nique

Let’s kick off our look at forgotten Oscar winners with Mo’Nique, who claimed she was “blacklisted” after her win at the Academy Awards.

When she won the Oscar for Best Supporting Actress in 2010 for her performance in Precious it was her acceptance speech that got people talking, which began: “First, I would like to thank the Academy for showing that it can be about the performance and not the politics.”

Mo’Nique was referring to a fallout which started long before the Oscars.

It came when she refused to travel the world to promote the film – against the advisement of director Lee Daniels and producers Tyler Perry and Oprah Winfrey – despite the movie having “Oscar buzz”.

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Following this fallout, Mo’Nique declined to thank filmmaker Lee during her acceptance speech, leading to a HUGE Hollywood feud – during which the actress alleged that he had “blackballed” her from the industry.

And shortly after winning the coveted statue she practically vanished from Tinseltown.

The star has since reflected on being a victim of so-called “Oscarscurse” – where stars suffer bad luck in their career after winning an Academy Award.

Speaking to CNN in 2020, Mo’Nique said: “I believe winning that Oscar award, just as Hattie McDaniel, she said, ‘I felt like I was cursed instead of winning something that should be congratulated’.

“That award was something that I did not ask for, but because I didn’t respond the way people thought that I should have responded, as Lee Daniels said, I was blackballed.”

Mercedes Ruehl

At the 1992 Oscars, Mercedes Ruehl was having the time of her life after scooping the Best Supporting Actress gong.

Despite her movie The Fisher King being led by Hollywood heavyweights Robin Williams and Jeff Bridges, Mercedes was the one who took home that coveted gold statue.

But even though she won such a huge award, the movie roles failed to pour in after her night of glory and the actress “vanished” from Hollywood.

Reflecting on the “curse” of winning such a top prize, she told the HuffPost: “It’s hard to get a job after that.

“People think you want more money.”

Instead, Mercedes returned to the stage and went on to win a Tony award the same year as her Oscar – she has remained a fixture of Broadway ever since.

Harold Russell

Harold Russell’s Oscars tale is very different to the others.

The late star lost both his hands in World War II and had them replaced by hooks.

Harold had never acted before when he played the role of Homer Parrish in The Best Years of Our Lives in 1946.

He was cast after the director of the film saw him in Diary of a Sergeant, an Army film about rehabilitating war veterans.

Despite his lack of acting experience, Harold proved to be a huge hit in The Best of Our Lives, and he won not one, but TWO Oscars for his role.

At the 1947 Academy Awards he was awarded the Best Supporting Actor and a special Honorary Academy Award for bringing hope and courage to fellow veterans.

Harold was also the first non-professional actor to ever win an Oscar.

But despite all this glory, he took a step back from acting and didn’t appear in another film until 1980.

Instead, he decided to get a business degree and devoted his life to charity.

Speaking about why he didn’t continue his Hollywood career, he told the Los Angeles Times in 1996: “Wyler (the director) told me I should go back to college because there wasn’t much call for a guy with no hands in the motion picture industry.

“I figured he was right. [In the handful of roles I’ve taken since then,] I always play a disabled veteran.

“And this is what Wyler said, ‘After a while they’re going to run out of ideas’—and he was absolutely right. How many times can you play the same role?”

Harold died in 2002 at the age of 88.

Roberto Benigni

Next up we have Italian actor Roberto Benigni, whose double Oscar win in 1999 caused quite a reaction.

The star won two gongs for the foreign film La Vita è Bella (Life is Beautiful), taking home the statues for Best Actor and Best International Feature Film – as he directed the movie too.

The film was the first non-English speaking picture to win the Best Actor award.

But Roberto, who was up against Tom Hanks, Ian McKellen, Nick Nolte and Ed Norton for the award, faced a huge backlash for his “over the top” reaction to winning the coveted gong.

He was seen climbing over audience seats to accept the award, which was slammed as being “chaotic”.

Roberto was also criticised for his “disingenuous” acceptance speech, where he appeared to make light of winning such a huge award.

“This is a terrible mistake. I used up all my English!” he joked, upon being handed the award.

Despite his big win, the actor retreated back to his native-Italy to make films instead of in Hollywood.

Speaking about life as a two-time Oscar winner, Roberto once told The Guardian: “The most important thing is to continue to be yourself.

“The day after the Oscars, you have to get on with your life. To be honest and true to yourself. I could have made a small film and kept all the money from Life is Beautiful. Instead, I spent more money than I had on Pinocchio, a very risky film.”

The actor is referring to his 2002 movie Pinocchio, which was only released in Italy and received mixed reviews from critics, with one calling it “the worst movie ever made”.

Marcia Gay Harden

Marcia Gay Harden beat the odds to scoop the Best Supporting Actress award for Pollack in 2000.

The actress was up against massive stars including Judi Dench, Kate Hudson, Frances McDormand and Julie Walters, so her win was the HUGE surprise of the night that everyone was talking about.

Critics were also shocked that Marcia won the Oscar as she hadn’t been nominated for any other major award in the run-up to the ceremony.

Despite the actress’s huge win, her movie career stalled and she headed back to the small screen.

Reflecting on being a victim of the “Oscar curse”, Marcia once told the LA Times: “It’s disastrous on a professional level.

“Suddenly the parts you’re offered and the money become smaller. There’s no logic to it.”

Mira Sorvino

Mira Sorvino

Fans of the quirky movie Romy and Michele’s High School Reunion may be surprised to know that the film’s co-leading actress, Mira Sorvino, actually won an Oscar before starring in the cult classic movie.

A few years before, the actress won a huge amount of praise when she played a prostitute in Woody Allen’s Mighty Aphrodite.

She wowed so much, she scooped the Academy Award for Best Supporting Actress in 1996 for the role.

Despite going on to star in Romy and Michele’s High School Reunion the following year, the movie roles after that failed to pour in and she has switched her focus to TV.

Marisa Tomei

Last but not least, we have Marisa Tomei.

It may come as a surprise to film fans to find out that the actress won an Oscar in 1993 – but that is nothing compared to what happened on the actual night.

Shockwaves went through the prestigious ceremony when the relatively-unknown actress at the time scooped the gong for Best Supporting Actress, beating veteran stars like Joan Plowright and Vanessa Redgrave.

But it didn’t stop there, as poor Marisa, who won the award for her role in My Cousin Vinny, faced rumours that she had been given the Oscar “by mistake”.

Vicious gossip began to circulate that suggested that presenter Jack Palance had misread the envelope and mistakenly given the Oscar to Marisa instead of “its rightful owner”, Vanessa.

However, the Academy addressed the conspiracy theory and denied that she had been given it by “mistake.”

Speaking about the cruel rumour, Marisa once said: “That was really hurtful at first.”

Despite the fall out from her Oscar three decades ago, she has been nominated for two more since.

These days Marisa is best known for playing Spider-Man‘s mum in the famous franchise.

Catherine Zeta-Jones arrives on the red carpet at the 85th Academy Awards in 2013.

(Wally Skalij / Los Angeles Times)

The red carpet at the Oscars is the epitome of Hollywood glitz and glamour. We combed through our archives for photos of the Academy Awards since 2000 — from arrivals of the biggest stars to backstage candids to winners clutching their awards — to compile this trip down the Oscars’ memory lane.

So what do winners wear? Take a look at our collection below and you’ll see some of the best dressed stars through the years, including Lupita Nyong’o’s custom pale blue Prada gown in 2014 and Emma Stone’s gold Givenchy flapper-style dress in 2017. Around the dawn of the millennium, Halle Berry made a statement with an Elie Saab dress that had a sheer top with embroidered flowers when she won in 2002 while Reese Witherspoon went vintage with a beaded dress from Dior in 2006.

As we wait to see what the stars are wearing Sunday on the 98th Oscars red carpet, take a look at how Oscar fashion has evolved in the 21st century with photos of those who took home trophies for lead actress, lead actor, supporting actress and supporting actor.

2025

Mikey Madison shows off her leading actress Oscar for her role in “Anora” at the 97th Academy Awards.

(Jason Armond / Los Angeles Times)

Adrien Brody walks the red carpet at the 97th Academy Awards. He won the leading actor Oscar for “The Brutalist.”

(Allen J. Schaben / Los Angeles Times)

Zoe Saldaña accepts the supporting actress Oscar at the 2025 Academy Awards for “Emilia Perez.”

(Myung J. Chun / Los Angeles Times)

Kieran Culkin poses with his Oscar for “A Real Pain” at the 97th Academy Awards.

(Jason Armond / Los Angeles Times)

2024

Emma Stone won her second leading actress Oscar, for “Poor Things,” at the 96th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Cillian Murphy accepts the leading actor Oscar for “Oppenheimer” at the 96th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Da’Vine Joy Randolph won the supporting actress Oscar at the 96th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Robert Downey Jr. poses on the red carpet at the 96th Academy Awards before winning the supporting actor Oscar for “Oppenheimer.”

(Christina House / Los Angeles Times)

2023

Michelle Yeoh, who won the leading actress Oscar for “Everything Everywhere All at Once,” arrives at the Governors Ball following the 95th Academy Awards.

(Jay L. Clendenin / Los Angeles Times)

Brendan Fraser clutches his Oscar backstage at the 95th Academy Awards at the Dolby Theatre.

(Robert Gauthier / Los Angeles Times)

Jamie Lee Curtis, the supporting actress winner for “Everything Everywhere All at Once,” cries as she holds her Oscar backstage.

(Robert Gauthier / Los Angeles Times)

Ke Huy Quan stands atop the engraving station after getting his Oscar for supporting actor engraved.

(Jay L. Clendenin / Los Angeles Times)

2022

Jessica Chastain arrives at the 94th Academy Awards before winning the Oscar for lead actress.

(Jay L. Clendenin / Los Angeles Times)

Will Smith and Jada Pinkett Smith pose on the red carpet at the 2022 Oscars. Smith won the leading actor award later that night after slapping Chris Rock during the show.

(Jay L. Clendenin / Los Angeles Times)

Ariana DeBose holds her Oscar for supporting actress backstage.

(Robert Gauthier/Los Angeles Times)

Troy Kotsur accepts the supporting actor award for “CODA” from Youn Yuh-jung.

(Myung Chun / Los Angeles Times)

2021

The 2021 Oscars had a modified format without a red carpet due to the COVID-19 pandemic.

2020

Renée Zellweger shows off her Oscar for lead actress for “Judy.”

(Allen J. Schaben / Los Angeles Times)

Joaquin Phoenix arrives at the 92nd Academy Awards. He won for lead actor for his role in “Joker.”

(Jay L. Clendenin / Los Angeles Times)

Laura Dern, winner of the supporting actress Oscar for “Marriage Story,” shows off her hardware.

(Allen J. Schaben / Los Angeles Times)

Brad Pitt wins the supporting actor Oscar for his role as Cliff Booth in “Once Upon a Time … in Hollywood.”

(Allen J. Schaben / Los Angeles Times)

2019

Olivia Colman wins the lead actress Oscar for “The Favourite.”

(Robert Gauthier / Los Angeles Times)

Rami Malek, winner for lead actor for “Bohemian Rhapsody,” poses in the photo room at the 91st Academy Awards.

(Allen J. Schaben / Los Angeles Times)

Regina King arrives at the Academy Awards, where she won for supporting actress in “If Beale Street Could Talk.”

(Jay L. Clendenin / Los Angeles Times)

Amatus Sami-Karim and Mahershala Ali pose at the 91st Academy Awards, where Ali won the supporting actor Oscar for “Green Book.”

(Jay L. Clendenin / Los Angeles Times)

2018

Frances McDormand was victorious for her role in “Three Billboards Outside Ebbing, Missouri.”

( Allen J. Schaben / Los Angeles Times)

Gary Oldman tightly grips his Oscar for lead actor.

(Allen J. Schaben / Los Angeles Times)

Allison Janney, winner of the supporting actress Oscar for “I, Tonya,” poses for photos.

(Allen J. Schaben / Los Angeles Times)

Sam Rockwell and Leslie Bibb pose on the red carpet at the 90th Academy Awards. Rockwell won for his role as troubled police officer Jason Dixon in “Three Billboards Outside Ebbing, Missouri.”

(Jay L. Clendenin / Los Angeles Times)

2017

Emma Stone delivers a touching acceptance speech after winning lead actress for her role in “La La Land.”

(Al Seib / Los Angeles Times)

Casey Affleck holds up his Oscar for lead actor for “Manchester by the Sea.”

(Marcus Yam / Los Angeles Times)

Viola Davis smiles backstage after winning the Oscar for supporting actress for “Fences.”

(Al Seib / Los Angeles Times)

Mahershala Ali arrives at the Oscars, where he won for his performance in “Moonlight.”

(Allen J. Schaben / Los Angeles Times)

2016

Brie Larson won the lead actress Oscar for her role in the drama “Room.”

(Jay L. Clendenin / Los Angeles Times)

Leonardo DiCaprio wins his first Oscar ever for “The Revenant.”

(Robert Gauthier / Los Angeles Times)

Alicia Vikander is Belle of the ball at the Oscars, where she won for supporting actress in “The Danish Girl.”

(Jay L. Clendenin / Los Angeles Times)

Mark Rylance walks backstage after picking up the supporting actor Oscar for “Bridge of Spies.”

(Al Seib / Los Angeles Times)

2015

Julianne Moore shows off her lead actress trophy.

(Allen J. Schaben / Los Angeles Times)

Eddie Redmayne arrives at the 87th Academy Awards, where he won gold for “The Theory of Everything.”

(Jay L. Clendenin / Los Angeles Times)

Patricia Arquette poses on the red carpet. The actress won an Oscar for her role in “Boyhood.”

(Jay L. Clendenin / Los Angeles Times)

J.K. Simmons holds his supporting actor Oscar for the movie “Whiplash.”

(Allen J. Schaben / Los Angeles Times)

2014

Matthew McConaughey accepts the lead actor award for “Dallas Buyers Club.”

(Robert Gauthier / Los Angeles Times)

Cate Blanchett stuns on the red carpet before picking up the lead actress Oscar for “Blue Jasmine.”

(Wally Skalij / Los Angeles Times)

Jared Leto arrives at the 86th Academy Awards, where he won for his role in “Dallas Buyers Club.”

(Jay L. Clendenin / Los Angeles Times)

Lupita Nyong’o twirls her dress on the red carpet at the Oscars, where she won for her feature film debut in “12 Years a Slave.”

(Wally Skalij / Los Angeles Times)

2013

Daniel Day-Lewis and Meryl Streep walk offstage at the 85th Academy Awards after Day-Lewis’ lead actor win.

(Al Seib / Los Angeles Times)

Jennifer Lawrence holds up her Oscar after her win for “Silver Linings Playbook.”

(Lawrence K. Ho / Los Angeles Times)

Christoph Waltz gives an acceptance speech after winning for supporting actor.

(Robert Gauthier / Los Angeles Times)

Anne Hathaway wins for supporting actress at the 85th Academy Awards.

(Robert Gauthier / Los Angeles Times)

2012

Jean Dujardin cheers after his Oscar win for lead actor at the 84th Academy Awards.

(Robert Gauthier / Los Angeles Times)

Meryl Streep holds up her Oscar for lead actress for “The Iron Lady.”

(Allen J. Schaben / Los Angeles Times)

Christopher Plummer examines his Oscar for supporting actor.

(Al Seib / Los Angeles Times)

Octavia Spencer cries as she accepts her Oscar for supporting actress.

(Robert Gauthier / Los Angeles Times)

2011

Colin Firth is photographed with his Oscar at the Governors Ball following his win for “The King’s Speech.”

(Gary Friedman / Los Angeles Times)

Natalie Portman arrives in style to the Oscars, where she won for her role in “Black Swan.”

(Liz O. Baylen / Los Angeles Times)

Christian Bale accepts his award for supporting actor during the 83rd Academy Awards.

(Robert Gauthier / Los Angeles Times)

Melissa Leo poses on the red carpet before her win for supporting actress.

(Kirk McKoy / Los Angeles Times)

2010

Jeff Bridges cheers after receiving the lead actor Oscar.

(Robert Gauthier / Los Angeles Times)

Sandra Bullock arrives at the 82nd Annual Academy Awards before winning an Oscar for her role in “The Blind Side.”

(Kirk McKoy / Los Angeles Times)

Mo’Nique receives an Oscar for her role in “Precious” during the 82nd Annual Academy Awards.

(Robert Gauthier / Los Angeles Times)

Christoph Waltz accepts his award for supporting actor during the 82nd Academy Awards.

(Robert Gauthier / Los Angeles Times)

2009

Sean Penn accepts the lead actor Oscar for his role in “Milk” during the 81st Academy Awards.

(Mark Boster / Los Angeles Times)

Kate Winslet stands backstage after her win for lead actress at the 81st Academy Awards.

(Al Seib / Los Angeles Times)

Sally Bell, Kim and Kate Ledger accept the Oscar for supporting actor awarded to Heath Ledger at the 81st Academy Awards.

(Mark Boster/Los Angeles Times)

Penelope Cruz receives her Oscar at the 81st Academy Awards for her role in “Vicky Cristina Barcelona.”

(Mark Boster / Los Angeles Times)

2008

Forest Whitaker escorts Marion Cotillard off stage after presenting her with the Oscar for lead actress at the 80th Academy Awards.

(Al Seib / Los Angeles Times)

Presenter Helen Mirren joins Daniel Day–Lewis backstage after his win for lead actor at the 80th Academy Awards.

(Lawrence K. Ho / Los Angeles Times)

Tilda Swinton accepts the supporting actress Oscar for her role in “Michael Clayton” at the 80th Academy Awards.

(Al Seib / Los Angeles Times)

Javier Bardem celebrates with the cast of “No Country for Old Men” after the film’s win for best picture and his victory for lead actor.

(Wally Skalij / Los Angeles Times)

2007

Helen Mirren accepts the Oscar for lead actress for her role in “The Queen.”

(Al Seib / Los Angeles Times)

Forest Whitaker accepts the leading actor Oscar for his role in “The Last King of Scotland.”

(Al Seib / Los Angeles Times)

Jennifer Hudson exits the stage with her Oscar after winning for supporting actress during the 79th Academy Awards.

(Al Seib / Los Angeles Times)

Rachel Weisz wipes lipstick off of supporting actor winner Alan Arkin’s cheek while walking offstage.

(Al Seib / Los Angeles Times)

2006

Reese Witherspoon arrives at the 78th Academy Awards, where she took home an Oscar for lead actress in “Walk the Line.”

(Al Seib / Los Angeles Times)

Philip Seymour Hoffman accepts the Oscar for lead actor for his role in “Capote” at the 78th Academy Awards.

(Mark Boster / Los Angeles Times)

Rachel Weisz accepts the supporting actress Oscar for her role in “The Constant Gardener.”

(Mark Boster / Los Angeles Times)

George Clooney greets fans at the 78th Academy Awards, where he took home the supporting actor Oscar.

(Al Seib / Los Angeles Times)

2005

Morgan Freeman, Cate Blanchett, Hilary Swank and Jamie Foxx pose with Oscar statuettes at the 77th Academy Awards.

(Ken Hively / Los Angeles Times)

Jamie Foxx and daughter Corinne arrive at the 77th Academy Awards.

(Béatrice de Géa / Los Angeles Times)

Hilary Swank arrives at the 77th Academy Awards, where she would win an Oscar for lead actress in “Million Dollar Baby.”

(Robert Gauthier / Los Angeles Times)

Morgan Freeman arrives at the 77th Academy Awards with his daughter, Morgana.

(Robert Gauthier / Los Angeles Times)

Cate Blanchett arrives at the Academy Awards, where she won an Oscar for her role in “The Aviator.”

(Béatrice de Géa / Los Angeles Times)

2004

Charlize Theron, Sean Penn, Rénee Zellweger and Tim Robbins pose with their Oscars at the 76th Academy Awards.

(Francine Orr / Los Angeles Times)

Charlize Theron, wearing Tom Ford for Gucci, arrives at the 76th Academy Awards.

(Myung J. Chun / Los Angeles Times)

Sean Penn accepts the leading actor Oscar for his role in “Mystic River.”

(Brian van der Brug / Los Angeles Times)

Actress Renée Zellweger poses with her Oscar for supporting actress for her role in “Cold Mountain” at the 76th Academy Awards.

(Francine Orr / Los Angeles Times)

Tim Robbins, his then-partner Susan Sarandon and their son flash peace signs as they arrive at the 75th Academy Awards.

(Robert Gauthier / Los Angeles Times)

2003

Adrien Brody, Nicole Kidman, Catherine Zeta-Jones and Chris Cooper prepare to pose with their Oscars at the 75th Academy Awards.

(Richard Hartog / Los Angeles Times)

Adrien Brody reacts to his Oscar win for “The Pianist.”

(Brian van der Brug / Los Angeles Times)

Nicole Kidman accepts the leading actress Oscar at the 75th Academy Awards.

(Brian van der Brug / Los Angeles Times)

Chris Cooper points to the camera after winning an Oscar for supporting actor for “Adaptation.”

(Anacleto Rapping / Los Angeles Times)

Catherine Zeta–Jones accepts the leading actress award at the 75th Academy Awards.

(Brian van der Brug / Los Angeles Times)

2002

Denzel Washington wins the leading actor Oscar for his role in “Training Day.”

(Ken Hively / Los Angeles Times)

Halle Berry arrives at the 74th Academy Awards, where she won an Oscar for her role in “Monster’s Ball.”

(Kevin P. Casey / Los Angeles Times)

Supporting actress Jennifer Connelly and supporting actor Jim Broadbent smile at the 74th Academy Awards.

(Don Kelsen / Los Angeles Times)

Jennifer Connelly accepts her Oscar for her role in “A Beautiful Mind.”

(Ken Hively / Los Angeles Times)

2001

Benicio del Toro, Marcia Gay Harden, Julia Roberts and Russell Crowe pose with their Oscars during the 73rd Academy Awards.

(Ken Hively / Los Angeles Times)

Russell Crowe wins an Oscar for his work on the film “Gladiator” during the 73rd annual Academy Awards.

(Al Seib / Los Angeles Times)

Julia Roberts celebrates after winning the leading actress Oscar at the 73rd Academy Awards.

(Al Seib / Los Angeles Times)

Benicio Del Toro clinches his fist after accepting the supporting actor Oscar for his role in “Traffic.”

(Al Seib / Los Angeles Times)

Marcia Gay Harden accepts her supporting actress Oscar at the 73rd Academy Awards.

(Al Seib / Los Angeles Times)

2000

Michael Caine, Angelina Jolie, Hilary Swank and Kevin Spacey smile backstage at the 72nd Academy Awards.

(Ken Hively / Los Angeles Times)

Kevin Spacey poses with his leading actor award for his role in “American Beauty.”

(Ken Hively / Los Angeles Times)

Hilary Swank accepts her Oscar for her role in “Boys Don’t Cry.”

(Robert Gauthier / Los Angeles Times)

Michael Caine accepts the Oscar for supporting actor during the 72nd Academy Awards.

(Robert Gauthier/ Los Angeles Times)

Angelina Jolie kisses her Oscar for supporting actress during the 72nd Academy Awards.

(Ken Hively / Los Angeles Times)

Twenty-three years ago, the Oscars were in turmoil. President George W. Bush had just begun an invasion of Iraq after the Sept. 11 attacks, and as the nation’s TV screens filled with the “shock and awe” campaign, many did not know quite how to proceed with Hollywood’s biggest night.

ABC wanted to postpone, presenters begged off, Jack Nicholson urged his fellow actor nominees to boycott (animated feature winner Hayao Miyazaki did), documentary winner Michael Moore attempted to directly shame Bush from the stage (to loud boos) and many of the acceptance speeches acknowledged the war and included pleas for peace.

President Trump’s recent decision to attack Iran is not precisely the same — American troops have thus far not invaded and the Bush administration’s media blitz of rockets lighting up the sky is absent. No one expected the Oscars to be canceled or delayed and there has been no talk of boycotts; whether the war and (if polls are to be believed) its general unpopularity are noted, either by host Conan O’Brien (who has already said he will not be mentioning Trump) or the winners, remains to be seen.

But if recent history is any indication, it could go unmentioned. Which would be something of a political statement in itself: It would be terrible if the false notion that awards shows have become too political had a chilling effect on anyone who wanted to use their platform to speak about something important they care about.

Thus far, film and television awards winners have stayed away from the issues that have prompted widespread public outrage and protests this year — including the often brutal methods of Immigration and Customs Enforcement, the ongoing concern over the war in Gaza and the endless revelations of the Epstein files.

Despite complaints from certain quarters, awards shows, particularly the Oscars, rarely have more than one or two truly political moments. But this year, the absence has been notable.

Compared with the Grammy Awards, where Trevor Noah, in his final stint as host, roasted Trump and anti-ICE sentiment reigned in speeches and on pins, this year’s Golden Globes (which aired three weeks before the Grammys) appeared to exist in another world. A few stars wore similar pins and spoke on the red carpet, but aside from a few digs about Epstein and CBS News from host Nikki Glaser, there was no mention of the many issues roiling the nation. (As he was beginning to make late-in-speech remarks about this being an important time to make films, Kleber Mendonça Filho, Brazilian director of the non-English language film winner “The Secret Agent,” ran over time and was played off.)

Has Hollywood lost its spine? Or, having been beset for years by grievances that the Oscars have become “too political” and “too woke,” are filmmakers and actors saving their outrage and passion for social media and bowing to pressure to keep their acceptance speeches grateful and celebratory?

“I know that there are people who find it annoying when actors take opportunities like this to talk about social and political things,” said Jean Smart on the Golden Globes red carpet, adding, when she won for actress in a TV comedy: “There’s just a lot that could be said tonight. I said my rant on the red carpet, so I won’t do it here.”

It was an echo of Jane Fonda’s famous 1972 Oscar speech: “There’s a great deal to say, and I’m not going to say it tonight.” And, perhaps, a response to more recent “shut up and dribble” criticism, as distilled by 2020 Golden Globes host Ricky Gervais, who cautioned the audience: “If you do win an award tonight, don’t use it as a platform to make a political speech. You’re in no position to lecture the public about anything. You know nothing about the real world.”

Indeed, as Oscars ratings have plummeted over the last 20 years, some have suggested that political speechifying is to blame. This is patently absurd. Viewership for just about everything except the Super Bowl has dropped dramatically, and the Oscars ratings do not take into account the millions who watch portions of the show on social media. (We’ll see what happens when the Oscars move to YouTube in 2029.)

And the Oscars have never been particularly political.

Speeches that deviate from the ubiquitous laundry list of thank yous always get more attention, whether they’re political or not, for the simple reason that they’re so dang unusual. But taken as a whole, either by decade or particular telecast, the Oscars is mostly, and consistently, apolitical. As in, almost every minute of a three-hour-plus show, year after year after year.

Unless, of course, you consider thanking God to be political. Which I do not. Nor do I categorize as such any speech that underlines the fact of a historic win (as Halle Berry did in 2002), encourages Hollywood to tell more diverse stories (as Cate Blanchett did in 2014) or reminds audiences in a general way that systemic oppression and war are bad (as Adrian Brody did amid his ramblings in 2025).

Many of the speeches that have been branded as “political” are simply underscoring the themes of the films being honored — in 2009, both Dustin Lance Black and Sean Penn advocated for gay rights when accepting Oscars for “Milk,” which chronicled the life of assassinated gay rights activist Harvey Milk. Likewise, John Irving supporting abortion rights and Planned Parenthood after winning for “The Cider House Rules” in 2000 and John Legend and Common speaking passionately about civil rights, past and present, after winning for “Glory,” a song from the civil rights drama “Selma,” in 2015 was only natural.

Sacheen Littlefeather refuses the lead actor Academy Award on behalf of Marlon Brando in 1973.

(Bettmann Archive)

A purely political speech, to my mind, directly calls out specific leaders, policies or crises, which may or may not have anything to do with the film being awarded. The most famous are, of course, Marlon Brando’s decision to send Sacheen Littlefeather to accept his Oscar for “The Godfather” and protest the treatment of Native Americans, and Vanessa Redgrave’s 1978 denunciation of “Zionist hoodlums” who were demonstrating against her involvement in a pro-Palestinian documentary even as she accepted for supporting actress in “Julia.”

In 1993, while many Oscars attendees wore red ribbons to honor those living with HIV/AIDS and call for government assistance, then-couple Susan Sarandon and Tim Robbins took it further, using their time as presenters to ask the U.S. government to allow HIV-positive Haitians being held at Guantanamo Bay to be let into the country. That same year, presenter Richard Gere used the fact that “1 billion people” were watching to send “sanity” to Chinese leader Deng Xiaoping in the hopes that he would allow the people of Tibet to “live free.” (Then-Oscars producer Gil Cates quickly denounced the three presenters; Gere did not return to the Oscars until 2013.)

A year after Moore blasted Bush over Iraq, Errol Morris, winning for “The Fog of War,” briefly compared the war in Iraq to the “rabbit hole” of Vietnam (which was the subject of his film). In 2015, “Boyhood” star Patricia Arquette used most of her supporting actress speech to demand equal wages for women. That same year, “Birdman” director Alejandro G. Iñárritu dedicated his award to his fellow Mexicans, with the hope that they would be treated by Americans “with dignity and respect” so that together, they could build a “great immigrant nation.” (Which frankly plays more purely political now than it did at the time.) A year later, Leonardo DiCaprio spoke about climate change after winning for “The Revenant.”

In 2019, Spike Lee, accepting for adapted screenplay (“BlacKkKlansman”), called on voters in the upcoming election to mobilize and “be on the right side of history” and in 2024, “Zone of Interest” director Jonathan Glazer, accepting for international film, riled many by comparing the dehumanization required for the Holocaust to occur with events in Gaza.

Even now, the most notable examples of political speeches, the ones that are always mentioned, are from the freaking ‘70s. Which certainly obliterates the idea that the Oscars have grown more political and undermines the argument that it is a Big Problem.

Put these relatively few moments next to the endless hours of acceptance speeches that, with varying degrees of emotion, honor the art of movie-making and the legions that support those who are doing it (including God, parents, spouses, children, some random but heaven-sent teacher) and it’s difficult to see much “wokeness.”

The people who gather at the Oscars are storytellers, and many of the stories they tell deal with uncomfortable truths about our collective past, present and future (including best picture front-runners “One Battle After Another” and “Sinners”). Of course nominees and winners have opinions about politics, science, social issues, international conflict and those suffering without recourse or voice — that’s why they make movies. So if a few of them decide to skip thanking their manager or the studio head and say a few words about climate change or whatever current law/policy/presidential action they believe is making lives worse for a lot of people, that’s their choice. They just won an Oscar!

For those uncomfortable watching it, just use the 45 seconds to grab a snack and by the time you’re back, the host will be moaning about how long the show is and the next five winners will inevitably cry and smile; praise their fellow nominees; thank the producers; say something sweet about their cast, crew and mamas; before telling their kids they love them and it’s time to go to bed.

And that’s OK too.

The big question surrounding last year’s Academy Awards was whether the show would address the L.A. wildfires, which had rattled the city mere months prior.

This year, the elephant in the room is the ongoing Iran war, which like last year’s wildfires, puts a celebration like the Oscars in sharp relief. But for Conan O’Brien, balancing gravity and levity is part of his job description as host.

“My job is to always try and hit this very, very thin line between entertaining people and also acknowledging some of the realities,” O’Brien said during a Wednesday news conference with the Oscars creative team.

“It’s a dance that goes on up until the show begins,” the former talk show host said, adding that he and his team of writers are still revising material ahead of the show to ensure their content is as relevant as possible.

“Between us,” he said, referencing Oscars telecast executive producers Katy Mullan and Raj Kapoor, “we will find the right tone.”

O’Brien also during the news conference recalled Johnny Carson’s turn hosting the Oscars during the Iran hostage crisis, when 52 Americans, including diplomats and other personnel, were held hostage at the U.S. embassy in Tehran from 1979 to 1981. The comedian remembered the television host parodying ABC’s “Nightline” with his joke, “It’s day 444 of the Oscars.”

“It was such a funny, topical joke that touched on something everyone was thinking about, and at the same time, got a big laugh and was unifying,” O’Brien said. “That was meaningful to me.”

Kapoor said during the news conference that the production team is putting systems in place to alleviate attendees’ safety concerns amid the tense global situation and reported threats to California.

“Every year, we monitor what’s going on in the world,” the showrunner said, adding that the ceremony has the support of the FBI and LAPD. “This show has to run like clockwork.”

He added, “Everybody that is coming to this show, that is witnessing this show, that is even a fan of the show when they’re standing outside the barricades — we want everybody to feel safe and protected and welcome.”

As for the telecast’s creative direction, the team cited “human touch” as a unifying theme — a not-so-subtle slight to AI.

“We’re celebrating human touch, human connection and what I like to call actual intelligence, as opposed to artificial,” said music director Michael Bearden. “We want to get back to the communal … and so the music will reflect that.”

That spirit of celebration will be especially tangible in the “KPop Demon Hunters” performance, Kapoor said. That performance will be complemented by a “Sinners” moment featuring Miles Caton and Raphael Saadiq as well as guests Misty Copeland, Eric Gales, Buddy Guy, Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey and Alice Smith.

“We have this lovely story celebrating Korean culture with authentic Korean drummers and singers and even choreography,” the producer said. “So again, we’ve expanded our reach, and we’re telling these global stories, celebrating international films that have had a global impact and doing things in a really different way.”

Mullan and Kapoor closed the news conference by teasing a pair of reunions featuring cast members from “Bridesmaids” and the Marvel Cinematic Universe. “Bridesmaids” alum Rose Byrne is nominated for a lead actress Oscar for her role in “If I Had Legs I’d Kick You,” which marked O’Brien’s dramatic acting debut. (If Byrne wins, he said, “half that Oscar’s mine.”)

“We’re gonna have superstars, superheroes, and there is also going to be an extraterrestrial on the stage, so you can figure that one out,” Mullan said.

The 2026 Oscars will air live Sunday on ABC, with streaming available on Hulu, YouTube TV, AT&T TV and FuboTV.

There were tears (and cheers) for Catherine O’Hara. Rhea Seehorn explained “Pluribus,” or at least tried to. Harrison Ford was celebrated at the “half-point of his career.” And, because the show’s on Netflix, there were a few well-placed F-bombs, not including the swears muttered by the actors who didn’t win.

The 32nd Actor Awards — or the very first Actor Awards, since for the previous 31 years this ceremony has been known as the Screen Actors Guild Awards — went off without a hitch Sunday, and ended with a bang, scrambling a best picture race that felt settled after “One Battle After Another” won the top prize at the Producers Guild Awards on Saturday.

There were TV awards presented too. But we pay attention to the Actor Awards because the show takes place while Oscar ballots are out and are, for the most part, a reliable precursor to the Academy Awards. How trustworthy will they be for the acting winners this year? Let’s take a look.

Cast in a motion picture

(Kayla Bartkowski / Los Angeles Times)

Winner: “Sinners”

The past: The winner of this award has gone on to take the best picture Oscar in 15 of 30 years, making it basically a coin flip and easily the Actor Awards’ least trustworthy Oscar precursor. (The ensemble prize wasn’t awarded in 1994, the ceremony’s first year.) Oscar also-ran “Conclave” won last year, ending a three-year streak — “CODA,” “Everything Everywhere All at Once” and “Oppenheimer” — where the winner of the cast prize went on to take best picture.

Will history repeat itself? If “Sinners” had simply taken this award and nothing else, I would say “One Battle After Another” would still be the overwhelming favorite to win the best picture Oscar. But snagging this prize and Michael B. Jordan winning lead actor gives one pause, doesn’t it? Again, the cast award is not a reliable best picture precursor. A Ryan Coogler movie (“Black Panther”) won in 2019, but lost the Oscar to “Green Book.” And while “Sinners” did haul in a record-breaking 16 Oscar nominations, “One Battle” wasn’t far behind with 13, just one shy of the previous record. It’s easy to get carried away with the way the room exploded when Samuel L. Jackson announced the winner, but “One Battle’s” Producers Guild win carries more weight. I’ll need a couple of days to sit with this.

Female actor in a leading role

(Kayla Bartkowski / Los Angeles Times)

Winner: Jessie Buckley, “Hamnet”

The past: SAG and the academy have matched 21 of 31 years. The last two years have seen the groups split, with Emma Stone (“Poor Things”) winning her second Oscar over SAG winner Lily Gladstone (“Killers of the Flower Moon”) in 2024 and Mikey Madison prevailing for “Anora” over Demi Moore, who won over SAG-AFTRA voters and earned a huge standing ovation when she took the stage for her gonzo comeback turn in the body horror movie “The Substance.”

Will history repeat itself? Buckley has been a lock for the lead actress Oscar since “Hamnet” premiered in September at the Telluride Film Festival, her searching, searing turn as the film’s grieving mother producing the kind of visceral reaction that guts audiences and wins awards. And, boy, has she won awards these last few months, taking pretty much everything save for the major critics groups. The naysayers decried the acting as overripe, sniffing instead of sniffling. Monsters. There’s no denying Buckley goes big with her emotions here, but the magic in her work also can be seen in a much-used still photo from “Hamnet,” the one where she’s resting her elbows on the Old Globe stage, hands clasped, face transfixed, heart opened. You know the shot. And you’re probably getting a little verklempt just thinking about it.

Male actor in a leading role

(Kayla Bartkowski / Los Angeles Times)

Winner: Michael B. Jordan, “Sinners”

The past: This category has been the most reliable indicator of Oscar victory, with SAG and the academy matching 24 of 31 times. There are exceptions, though, such as just last year when Adrien Brody won the Oscar for “The Brutalist,” prevailing over SAG winner Chalamet (“A Complete Unknown”).

Will history repeat itself? Entering the month of February, it looked like Timothée Chalamet was a shoo-in for playing a talented, self-promoting ping-pong player in “Marty Supreme.” In fact, some know-it-all called this race more or less over just a week ago. (That was me.) Chalamet could still win. Maybe SAG-AFTRA voters didn’t want to give him the award again, just a year after they honored him for his lead turn in “A Complete Unknown.” Maybe SAG-AFTRA voters felt he was a bit, shall we say … “brash” in the way he marketed the movie and needed to be taken down a peg.

So now, entering March, it’s looking like “Marty Supreme” could be this year’s version of “The Irishman,” a film that earns a lot of nominations (in this case, nine) and comes away with nothing.

Meanwhile, Jordan’s big swing movie star turn in “Sinners,” playing twin brothers Smoke and Stack, was the best work of his career. That scream that Viola Davis let out when she opened the envelope spoke to the enthusiasm in the room both for the actor and the film. Momentum definitely seems to be on Jordan’s side right now.

Female actor in a supporting role

(Kayla Bartkowski / Los Angeles Times)

Winner: Amy Madigan, “Weapons”

The past: The Actor Award winner has gone on to take an Oscar 23 of 31 times, including last year, when Zoe Saldaña won for “Emilia Pérez,” one of countless prizes she won that season. (Note: One of those 23 winners, “The Reader’s” Kate Winslet, was nominated for — and won — the 2009 Oscar for lead actress for that performance.)

Will history repeat itself? Who knows? This category has been all over the place, but as Madigan said in her speech, she’s been doing this a “long ass time” and there’s a lot of love for this 75-year-old acting great. Teyana Taylor (“One Battle After Another”) took the Golden Globe, and Wunmi Mosaku (“Sinners”) won at the British Academy Film Awards. And the “they’re due” narrative doesn’t always play at the Oscars. (Just ask Demi Moore or Glenn Close.) Will a “One Battle” sweep carry both Taylor and Sean Penn? Or is there room for an outlier? It’s tempting to lean toward Madigan.

Male actor in a supporting role

Winner: Sean Penn, “One Battle After Another”

The past: The SAG winner has gone on to win the Oscar 22 times in 31 years, including the last dozen, the longest streak of any category.

Will history repeat itself? Penn did not attend the Actor Awards, the only thing less surprising than this win. Coming on the heels of taking the supporting actor prize from BAFTA last weekend (Penn didn’t go to that ceremony either), it’s looking likely now that Penn will win his third Oscar. He’s barely campaigned and remains a divisive figure. But his menacing turn as the outrageous Col. Steven J. Lockjaw, a man given to zealotry and tight T-shirts, is the best work he has done in years. Will he go to the Oscars, if only to collect the trophy so he can give another statue to Ukranian President Volodymyr Zelensky? We’ll soon see.

Paul Thomas Anderson’s darkly comedic action-thriller “One Battle After Another” won the top prize at the Producers Guild Awards on Saturday, continuing its dominating run through awards season.

The PGA honor, presented at a ceremony in Beverly Hills, cements Anderson’s celebrated film as the front-runner for the best picture Oscar. Since 2009, when both the Producers Guild and the motion picture academy expanded their best picture nominee slates from five to 10 and adopted a preferential ballot, the PGA winner has gone on to win best picture all but three times.

The last time the groups diverged came six years ago when PGA winner “1917” lost the Oscar to Bong Joon Ho’s “Parasite,” a film that surged in momentum in the weeks leading up to the 2020 Oscars.

No other movie this season has shown that kind of strength other than Ryan Coogler’s “Sinners,” which scored a record-breaking 16 Oscar nominations in January. However, “One Battle” has prevailed at the major ceremonies since then, winning best picture at the British Academy Film Awards last week and Anderson taking the top honor with the Directors Guild earlier this month.

“Sinners” has one more chance to reverse the tide. It will compete against “One Battle After Another” for the cast award at the Actor Awards on Sunday. That ensemble honor, the most prestigious prize handed out by SAG-AFTRA voters, isn’t as strong a precursor as the PGA’s best film. But “Parasite” did win it right before the 2020 Oscars.

Hope springs eternal. Oscar voting ends on Thursday.

Read the full list of 2026 Producers Guild Award winners below.

Darryl F. Zanuck Award (outstanding theatrical motion picture): “One Battle After Another”

Outstanding animated theatrical motion picture: “KPop Demon Hunters”

Norman Felton Award (outstanding episodic television — drama): “The Pitt”

Danny Thomas Award (outstanding episodic television — comedy): “The Studio”

David L. Wolper Award (outstanding limited or anthology series): “Adolescence”

Outstanding televised or streamed motion picture: “John Candy: I Like Me”

Outstanding nonfiction television: “Pee-wee as Himself”

Outstanding live entertainment, variety, sketch, standup and talk series: “The Late Show with Stephen Colbert”

Outstanding game and competition television: “The Traitors”

Outstanding documentary film: “My Mom Jayne”

Outstanding children’s program: “Sesame Street”

Outstanding sports program: “Formula 1: Drive to Survive”

Outstanding short form program: ” Adolescence: The Making of Adolescence”

PGA Innovation Award: “The Wizard of Oz at Sphere”

David O. Selznick Award: Amy Pascal

Milestone Award: Jason Blum

Norman Lear Award: Mara Brock Akil

Final Oscar voting began yesterday. How many of the nominated movies have you seen? Are you doing your due diligence in all the categories before the March 15 ceremony or, given the summer weather outside your window, might the mountains be calling?

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. It’s never too early for flip-flops, is it?

Testing out a new mandate

To vote for the Oscars, you have to watch all the nominated movies.

This may seem obvious. But until this year, the motion picture academy operated entirely on the honor system, strongly encouraging members to see everything before voting.

Now voters have to show their work — up to a point.

This year, academy members are required to certify through the group’s screening room portal that they have viewed all nominated films in each category to be eligible to vote in that category. Since nominations were announced in January, the academy has been emailing voters with updates on their progress, indicating where they’re cleared to vote and where they still have work to do.

One wrinkle, and it’s not a small one: Members can simply check a box indicating that they’ve watched a movie outside the academy’s platform. Perhaps they saw it at a festival, on a streaming platform other than the portal or the place God intended films to be seen — a movie theater.

Whether they actually did watch the movies is left to the honesty of the voter. It’s still an honor system, and members do not need to show movie stubs, tickets or receipts.

Talking with academy members, there seems to be a little wiggle room when it comes to having a clear conscience.

Take the voter who loved Ethan Hawke‘s lead turn as legendary lyricist Lorenz Hart in “Blue Moon,” but hated “Marty Supreme,” turning it off 20 minutes after starting it. Since the academy’s screening room counts a movie as watched only if it’s viewed in its entirety, this voter told me they planned on restarting “Marty Supreme” one night and running it on mute so he could vote in the lead actor category.

“I’d seen enough,” he said. “Watching [Timothée] Chalamet play another pingpong tournament wouldn’t make me change my mind.”

Other academy members told me they were OK marking the “watched” box next to a movie they hadn’t seen, provided they had viewed four of the category’s other nominees. By and large though, they were the outliers. Most voters said they were happy to abstain from voting in a category in which they hadn’t watched all the nominated work. (As academy members may not publicly state voting decisions or preferences, voters spoke on the condition of anonymity.)

“I don’t need to see another ‘Avatar’ movie,” a producers branch member said. “So I’m fine not voting for visual effects or costume design this year. Life is short.”

“I like the idea that I can abstain from categories without any guilt,” an Oscar-nominated writer noted, adding that she thought the new system has been “helpful, reminding me to watch things.”

To that effect, academy members have been receiving a flurry of emails and texts that would give off Big Brother vibes if it didn’t simply boil down to an admonition to watch “Frankenstein” so they could vote in the nine categories where Guillermo del Toro’s monster movie is nominated.

It really isn’t that big an ask, as in recent years the Oscars have become increasingly dominated by a smaller number of movies vacuuming up a greater share of the nominations. This year, the five movies earning the most recognition — “Sinners,” “One Battle After Another,” “Marty Supreme,” “Frankenstein” and “Hamnet” — hauled in 56 nominations.

If an Oscar voter viewed the 10 best picture nominees, they’d be eligible to mark their ballots in best picture and eight other categories — supporting actor, adapted screenplay, casting, cinematography, film editing, production design and original score. Add Hawke’s “Blue Moon” and that opens up lead actor. Make it a double feature with “It Was Just an Accident” and original screenplay becomes available.

“You don’t really need to be much more than a casual moviegoer to knock out most of your ballot,” an actors branch member told me, “except for things like animation and documentaries and the shorts. I don’t know how many people watch all of those.”

Nobody does, save for the PricewaterhouseCoopers accountants counting the ballots. The question vexing both voters and the awards consultants paid to persuade them is how this new, formalized voting will affect the results. As Oscar winners are sometimes the movies that are the most-watched, might requiring voters to see all the nominated work boost less-publicized efforts?

“If ‘Sirât’ wins sound over ‘F1,’ then I think it’s a new ballgame,” one veteran campaigner said. “Right now, though, nobody knows.”

We will soon. In the meantime, with Oscar voting running through Thursday, some academy members tell me their weekend is booked.

“Three nights, three movies,” one voter said. “And then I’m watching ‘Bridgerton.’”

A one-size-fits-all sartorial approach is out of the question for the showmen of “Sinners,” “Hamnet,” “Frankenstein” and “Marty Supreme.” But whether the arena is theater, music, science or sports, all wear garments that accentuate their emotional states and prodigious talents — and leave an enduring mark. Here, Oscar-nominated costume designers Ruth E. Carter (“Sinners”), Malgosia Turzanska (“Hamnet”), Kate Hawley (“Frankenstein”) and Miyako Bellizzi (“Marty Supreme”) discuss defining menswear statements with The Envelope.

In Carter’s third collaboration with Ryan Coogler, Michael B. Jordan’s sharply dressed twins Smoke and Stack return to the Mississippi Delta in 1932 to open a juke joint, tapping their gifted blues musician cousin, Sammie (Miles Caton), to perform. “You see this style that [old blues players] embodied, whether it’s two-tone shoes, the hat, vest, shirts; all of that was laced into the storytelling,” says Carter. He might be a preacher’s son, but Sammie wears his passion on his blues-infused clothing in the record-breaking “Sinners.” “The vest is patched to show the wear from the guitar strap.”

Before the night goes to vampire hell, all eyes are on Sammie in earthy and gold tones as he sings “I Lied to You.” Artists spanning centuries and continents (including an electric-guitar-playing rocker and a Zaouli dancer) add to the mesmerizing sequence before returning to Sammie. “When we come back to him, we’re coming back to his own force and look,” Carter says.

A sketch of Sammie’s bluesman-inspired costume in “Sinners.”

(Ruth E. Carter)

A final scene set in 1992 shows Sammie (played by musician Buddy Guy) still beguiling audiences. Carter incorporates Guy’s real-life signature polka dots to highlight “this is a real story of the blues, and this is a real bluesman.” Stack’s authentic Coogi sweater (a nod to Biggie Smalls) contrasts with Sammie’s classic tailoring, which doubles as a memorial to his other cousin: “The color blue was an homage to Smoke and the flat cap.”

Clothing is also for remembrance in Chloé Zhao’s “Hamnet,” in which a grieving William Shakespeare (Paul Mescal) turns to a meaningful shade in paying tribute to his son during the inaugural run of “Hamlet” at the Globe Theatre in London. “Will, in my head, was imagining, remembering and holding on to the memory of Hamnet,” Turzanska says. “And in a super crude, simplified way, putting the paint and the colors that he remembered onto Hamlet’s character with those brushstrokes.”

Turzanska constructed the players’ costumes from raw linen, using slightly enlarged, period-accurate shapes combined with contemporary latex paint. Using this stage language, Hamlet’s (Noah Jupe) jerkin is “quilted and painted flat,” to conjure Hamnet (Jacobi Jupe): “It was a memory of the vertical stripes.”

There are echoes among the costumes for William Shakespeare, Hamlet and Hamnet in Malgosia Turzanska’s costumes for “Hamnet.”

(Malgosia Turzanska)

Offstage, growing slashes in Will’s leather doublets depict “emotional turmoil.” Still, his turn as Hamlet’s murdered father (the Ghost) is the most overt example. The off-white cloak caked in clay is deliberately drained of all color. Turzanska tested the symbolic shroud (“You put this little harness on”) to ensure Mescal could move freely. Catharsis comes after Will exits the play: “The clay is cracking and falling off. Finally, when he washes it off, we see him break down for the first time and actually cry.”

Not every stage has a paying audience. In Guillermo del Toro’s “Frankenstein,” Victor Frankenstein (Oscar Isaac) reanimates a corpse during a disciplinary hearing demonstration. Clad in red, white and black, the renegade scientist’s sartorial inspiration is not bound to a single era.

“That was the first note from Guillermo [about Victor]. He goes, ‘Dandy, rock star. Look at David Bowie. Look at Prince,” says Hawley. “When we started talking with Oscar, he came in with his Prince stuff. When you look at his performance, you see all those subtleties, the physicality, the swagger.” Piping on the waistcoat is “a kick” to stand out against judges in black.

Hawley embraces “wonderful peacock” 1850s menswear shapes: Victor’s puffed-out chest accentuates the “wasp waist” likening him to a matador. An exaggerated period heel adds flair. “Shoes are what root the actor to the ground and their character,” Hawley says. “It elevates every gesture from there.”

Victor Frankenstein’s costumes in “Frankenstein” were inspired by musicians like David Bowie.

(Kate Hawley)

“Marty Supreme’s” Bellizzi is equally mindful of footwear. Bellizzi “worked with Keds to find the shape” resembling a narrow 1950s sneaker for Timothée Chalamet to wear as ambitious table tennis player Marty Mauser. “When he was training, I would give him a few different sneakers to see what looked good but also what felt good,” says Bellizzi. “Because he had to wear them all day and play in them.”

Marty switches from a sedate black polo shirt and high-waisted wool pants while playing at Wembley in London to an eye-catching pink satin set on tour with the Harlem Globetrotters during a lighthearted interlude in Josh Safdie’s propulsive comedy-drama. “We overexaggerated the pants and the sleeves in the body so it is big and flowy,” says Bellizzi.

By the time Marty arrives in Japan, his everyday suit “has been through the wringer.” Luckily, a rigged ping-pong exhibition match allows Marty to embrace his theatrical talents. “It was an opportunity to show him as someone else. He’s undercover,” says Bellizzi. “He has the cap and the jumper.” Ever the showman, Marty relishes ditching the pretense and his wardrobe onstage, embracing his competitive streak. “He turns it into a bigger situation than it should have been, and maybe part of the surprise is that he’s derobing,” Bellizzi says. “It shows how much passion comes out.” Across venues and centuries, each man’s attire is ovation-worthy.

Christopher Nolan gave him a noogie.

Denis Villeneuve wore his movie’s swag.

Elle Fanning looked into the future and saw him winning the Oscar.

Is there anyone out there who doesn’t love Timothée Chalamet? I mean, besides the old-timer Oscar voter who recently told me he doesn’t like the young man’s “shenanigans.”

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Calico Mine Ride or Timber Mountain Log Ride? That’s a 1A / 1B ranking decision. It all depends if I’ve just eaten a slice of boysenberry pie.

Now … back to Timothée …

Did you catch any of the screenings during the American Cinematheque’s recent eight-film retrospective celebrating Chalamet’s career? Or perhaps you landed at the motion picture academy’s Samuel L. Goldwyn Theater on Monday when Chalamet was mobbed following a Q&A after a showing of “Marty Supreme” for guild voters.

If you witnessed a moment during this weeklong celebration — this Chalamania, if you will — you saw a young man whose talent as an actor is matched only by his genius at promotion.

You probably also came away knowing what has been a foregone conclusion since “Marty Supreme” opened in December: Chalamet is winning the Oscar for best actor.

And yet, there has been a lot of postulating that maybe one of the other nominated actors — Leonardo DiCaprio (“One Battle After Another”), Michael B. Jordan (“Sinners”), Ethan Hawke (“Blue Moon”) and Wagner Moura (“The Secret Agent”) — has a chance. You know … if things fall just the right way, there’s a path!

I get it. This year’s awards season has felt endless, and the Oscars are still more than three weeks away. Stories must be written, possibilities explored, no matter how remote.

But c’mon. Chalamet has this Oscar locked, just like “Hamnet” lead Jessie Buckley has owned the lead actress trophy since her movie premiered at Telluride in September. Admittedly, the lack of drama isn’t fun or exciting. Pine for an upset if you must, though it might be more fun to just surrender and celebrate Chalamet, a gifted actor and certified movie star who has stockpiled a remarkable body of work over the last decade.

This isn’t to say that you can’t make the case about who should win. DiCaprio continues to be one of our great comic actors and deserves attention just for the master class in phone acting he gives in “One Battle.” Moura carries “The Secret Agent” with an intense, brooding charisma that, one year shy of his 50th birthday, should push him to even greater recognition. Playing the desperate, despairing lyricist Lorenz Hart, Hawke empties his soul and his vocabulary, venting his way through the entirety of “Blue Moon.” And Jordan connects on the biggest swing of his career, playing twin brothers in “Sinners.”

So why is Chalamet winning in a walk? It’s a process of elimination. DiCaprio and Jordan are out as “Sinners” and “One Battle After Another” are ensemble films. (Even with the dual roles, Jordan is only in half the movie.) Moura’s work in “The Secret Agent” is sublime, but the Oscars rarely reward subtle acting. (This is a category that has gone to Rami Malek in “Bohemian Rhapsody,” Brendan Fraser in “The Whale” and Joaquin Phoenix in “Joker” in recent years.) And Hawke’s nomination is but one of two for “Blue Moon.” Not enough. Even the execrable “The Whale” managed three.

Chalamet already won the Golden Globe for performance by a male actor in a motion picture musical or comedy for “Marty Supreme.” Our columnist predicts an Oscar is next.

(Allen J. Schaben / Los Angeles Times)

Meanwhile, Chalamet is Marty Supreme, the undeniably talented, relentless self-promoter careening toward his goals of fame and fortune with little regard to the damage he is inflicting on others. (That’s Marty, not Timothée.) Marty’s despicable, but also, as played by Chalamet, winningly charming.

No, you’re not supposed to like the guy, which, for voters who, say, blanched at supporting DiCaprio in “The Wolf of Wall Street,” might be a problem. But the academy has changed a lot since Scorsese’s wildly entertaining movie screened for academy members at the Goldwyn and an unnamed screenwriter, seeing Scorsese, DiCaprio, Jonah Hill and writer Terence Winter emerging from an elevator afterward, ran over to them and started screaming, “Shame on you!”

It’s true that not everyone embraces the anxiety-inducing cinema that is the brand of “Marty Supreme” co-writer and director Josh Safdie. Not everyone embraces Safdie himself, after a noisy tabloid story resurfaced allegations of a toxic work environment on the set of the 2017 film “Good Time,” which Safdie directed with his brother, Benny.

But that has nothing to do with Chalamet, who did not work on the movie, or his ferocious, frenetic work in “Marty Supreme.” The biggest knocks against Chalamet seem to be the unorthodox ways he goes about promoting his movie (and himself) and his age (he just turned 30). Historically, the lead actor Oscar goes to men with a few more miles on the odometer. Adrien Brody is the youngest winner, taking the trophy in 2003 for “The Pianist” when he was 29.

But, as noted earlier, things have changed since the film academy began greatly expanding its membership over the past decade. This new academy gave its best picture and three acting prizes to “Everything Everywhere All at Once,” a bonkers movie that embraced chaos, fingers made of hot dogs and sex toys used as weapons. The new academy just crowned indie auteur Sean Baker king of the world for “Anora,” a Cinderella story about a stripper and a Prince Charming who knows where to score the best ketamine in Vegas.

You think these voters are going to care that Chalamet hasn’t “paid his dues,” an idea that’s patently silly on its surface anyway as this is his third Oscar nomination? He’s the youngest actor to earn three Oscar nominations since Marlon Brando did it, at age 30, in 1954.

By the way, Brando won the Oscar that year for “On the Waterfront.”

Chalamet has got this.

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.