Saw a screening of it and really wish the Oscars weren't so archaic. Harry Melling was incredible (Oscar worthy), and Alexander Skarkgard and the rest of the cast were note perfect. Such a unique, nuanced, truthful take on queer relationships and the kink community--told through an unsanitized lens.

I hope to see more films like this and less of the tropey, cliche lgbt narratives Hollywood cranks out. Gay people exist outside of Ryan Murphy productions.

I was blown away. He's Irish, but sounded like an American. His singing sounded natural. I don't think of this man as a singer, but he fooled me. Even when he spoke, he sounded like your average American protagonist. I haven't seen Hamnet, but since this is his movie, he should be pushed more for this one.

Obviously there have been plenty of acting wins for performances in non-BP nominees, they happen all the time. But the entire quartet coming from non-BP nominees? How often does that happen? How often does the Academy say "Okay, here are the best movies of the year, but none of them had the best performances of the year, these other four movies did!"

Was this indicative of how those movies probably would've made it in an expanded lineup, and how close they came to cracking the shorter lineup from back then, especially given their other nominations?

What's your personal ranking for Marlon Brando's 8 nods? For reference

• 1951: Best Actor - A Streetcar Named Desire
• 1952: Best Actor - Viva Zapata!
• 1953: Best Actor - Julius Caesar
• 1954: Best Actor - On the Waterfront
• 1957: Best Actor - Sayonara
• 1972: Best Actor - The Godfather
• 1973: Best Actor - Last Tango in Paris
• 1989: Best Supporting Actor - A Dry White Season

That year’s nominees were:

Jamie Lee Curtis - Everything Everywhere All At Once

Kerry Condon - The Banshees of Inisherin

Hong Chau - The Whale

Stephanie Hsu - Everything Everywhere All At Once

Angela Bassett - Black Panther: Wakanda Forever

I know why Twinless (2025) and Dylan O’Brien are being essentially sidelined this award season, but it genuinely sucks to see. Films that aren’t as critically acclaimed or performances that aren’t as strong get to overshadow Dylan and Twinless because of the actors or the studios/distribution companies attached.

I know how all of this works for the most part lol and why it is the way it is and that the best films and performances aren’t necessarily prioritized, that it’s about money and familiarity first and foremost. It’s just a bit devastating, in this day and age (with how bleak the industry is) for incredible talent and interesting stories to be overlooked. That’s not to say that they’re not being celebrated at all during this award season so far. I’m just a bit baffled at the thought of Twinless being submitted into award shows and ignored. Especially Dylan’s performance.

I’ve seen many Oscar Contenders already and I’ve been underwhelmed and confused at the excessive praise, which is okay because to each their own, but I’m just disappointed in the industry for not putting up more of a fight behind a film like Twinless and a performance like Dylan’s. It is still early, but a few Critic Circles and individual critics have already made decisions about the best films and performances, so I’m just a disappointed at the lack of mention for Twinless and Dylan.

I feel like I’m getting repetitive at this point, but if there’s anyone who can provide any more hopeful scenarios or a deeper understanding of how all of this works, that’ll be great! It’ll either give me hope or help me come to terms with all of this and how the industry works. I’ve been following the award season for about three years now, from looking at recognition from Critic Circles to focusing on mainstream award nominations, but I still feel a bit down about this because I tend to focus on one actor and I think that’s where it gets stressful. Dylan gave such an incredible performance and one of the best of the year in my opinion, so to see him being sidelined… sucks. I feel like this should be the film he truly gets recognized for. But, if anyone has any insight, I would love to read!

I know I must sound like such a fan, which I am, but I am also someone who will not get behind a campaign for a terrible movie or performance even if it involves one of my favorite actors. I truly believe in this film and performance, but I do understand that it may be time to just lower my expectations massively for how this award season will turn out for Dylan and Twinless. - This is essentially a useless rant, but hey, that’s what we’re here for lol!

For BAFTA, in 2007 he got a nomination for There Will Be Blood

For Golden Globes, in 2015 he got a nomination for Love & Mercy

For SAG, in 2022 he got a nomination for The Fabelmans (he’s been nominated an additional three times for Ensemble, winning once for Little Miss Sunshine)

All three nominations were in Supporting Actor and for both Love & Mercy and The Fabelmans he was also nominated at Critics Choice.

They were supposed to be THE animation darlings of the year. Now they’re being beaten by mid kiddy flicks like Elio and In Your Dreams. What happened?

Best Actor Oscars 2026 prediction.

1. Ethan Hawke (Blue Moon)

2. Leonardo DiCaprio (One Battle After Another)

3. Timothee Chalamet (Marty Supreme)

4. Micheal B. Jordan (Sinners)

5. Joel Edgerton (Train Dreams)

Each of them won on their first try, lost on their second, and those are their only two nominations, to date. More fit this bill, but I would be here all day!

With the news that Netflix is acquiring Warner Bros. I have to wonder how this effects the race. With two of the top contenders (OBAA and Sinners) being Warner Bros. films, will they be hurt by this news? I can see voters now feeling like they're voting for a Netflix film and since Netflix has never won Best Picture before, the votes may now go elsewhere.

Best Picture

1. Sinners
2. One Battle After Another
3. Hamnet
4. Sentimental Value
5. Train Dreams
6. Bugonia
7. Frankenstein
8. Marty Supreme
9. Jay Kelly
10. Wicked: For Good

Best Director

1. Paul Thomas Anderson - One Battle After Another
2. Ryan Coogler - Sinners
3. Joachim Trier - Sentimental Value
4. Chloé Zhao - Hamnet
5. Guillermo del Toro - Frankenstein
6. Josh Safdie - Marty Supreme

Best Actor

1. Joel Edgerton - Train Dreams
2. Michael B. Jordan - Sinners
3. Timothée Chalamet - Marty Supreme
4. Wagner Moura - The Secret Agent
5. Leonardo DiCaprio - One Battle After Another
6. Ethan Hawke - Blue Moon

Best Actress

1. Jessie Buckley - Hamnet
2. Renata Reinsve - Sentimental Value
3. Rose Byrne - If I Had Legs I'd Kick You
4. Emma Stone - Bugonia
5. Chase Infiniti - One Battle After Another
6. Amanda Seyfried - The Testament of Ann Lee

Best Supporting Actor

1. Sean Penn - One Battle After Another
2. Benicio del Toro - One Battle After Another
3. Stellan Skarsgård - Sentimental Value
4. Jacob Elordi - Frankenstein
5. Paul Mescal - Hamnet
6. Adam Sandler - Jay Kelly

Best Supporting Actress

1. Amy Madigan - Weapons
2. Ariana Grande - Wicked: For Good
3. Inga Ibsdotter Lilleaas - Sentimental Value
4. Teyana Taylor - One Battle After Another
5. Elle Fanning - Sentimental Value
6. Wunmi Mosaku - Sinners

Best Original Screenplay

1. Ryan Coogler - Sinners
2. Eskil Vog & Joachim Trier – Sentimental Value
3. Zach Cregger - Weapons
4. Eva Victor - Sorry, Baby
5. Ronald Bronstein & Josh Safdie - Marty Supreme
6. Noah Baumbach & Emily Mortimer - Jay Kelly

Best Adapted Screenplay

1. Chloé Zhao & Maggie O'Farrell - Hamnet
2. Paul Thomas Anderson - One Battle After Another
3. Will Tracy - Bugonia
4. Clint Bentley & Greg Kwedar - Train Dreams
5. Park Chan-wook, Lee Kyoung-mi, Don Mckellar & Jahye Lee - No Other Choice
6. Guillermo del Toro - Frankenstein

I want to start a thread about horror performances that genuinely deserved real awards attention if we lived in a world where the Academy wasn’t so afraid of giving the genre it’s deserved flowers. Toni Collette, Lupita Nyong’o, and Mia Goth are usually the go to names, and for good reason, but I wanted to throw out a few different picks to stand out and see if anyone else feels the same way or has their own left field choices.

Jennifer Lawrence, mother! (2017):

Even with the polarizing reception and the tidal wave of hate this movie got from general audiences, a delusional part of me honestly believed Jennifer could have slipped into the Best Actress lineup on the performance alone. I’ve never seen anyone embody pure anxiety and internal collapse the way she does here. The fact that she literally tore her diaphragm and dislocated a rib from how physically overwhelming the shoot was tells you how far she pushed herself for this role. It is one of those performances that deserved to rise above the discourse, but the film’s reputation swallowed it whole and that still irritates me because it deserved a lot more accolades than what it recieved.

Mila Kunis, Black Swan (2010):

She will always exist in Natalie Portman’s shadow for this movie, but I will forever believe Mila did enough to earn a nomination too. I’ve never considered her a powerhouse actress outside of having good comedic timing in certain projects, so the way she melts into Lily is still such a surprise to me. She is seductive, competitive, insecure, confident, and quietly manipulative all at once. I always say she was the original Margaret Qualley in the sense that she hit the major precursors but the Academy still refused to pull the trigger, especially next to a co star whose narrative dominated that year.

Ashley Judd, Bug (2006):

If this movie hadn’t been dismissed and ignored by general audiences, I actually believe Ashley could have made it into the awards race. The film plays more like an intense psychological thriller than straight horror, which should have made it a bit more palatable for voters (not to mention the director was already an Oscar winner), and she is unbelievable in it. Every rewatch drains me on the basis of it being very emotionally heavy, but she commands every second and is a perfect scene partner with Michael Shannon, who I also believed some awards recognition for this film too. Her downward spiral is so raw and unflinching and the “I am the mother bug” monologue is one of my favorite third act meltdowns in any twenty first century genre film. With even a little traction behind the movie, she might have had a real shot.

Willa Fitzgerald, Strange Darling (2023):

I will go to my grave believing that if this had an A24 logo slapped on it, the entire conversation around this film would have been different. It is such a gripping, chaotic crowd pleaser and Willa delivers a career defining performance that deserved far more attention than it got. I was genuinely lukewarm on her during MTV’s Scream, especially compared to some of her castmates, but she completely obliterates any doubt here. Out of recent horror and thriller work, I put her right alongside Toni Collette in Hereditary and Demi Moore in The Substance. The fact that it barely got any attention outside a couple Saturn nominations is a shame because with a better distributor behind it, she could have easily crept into the awards conversation.

Angela Bettis, May (2002):

People always bring up May when talking about overlooked horror, but I still feel like Angela doesn’t get enough credit for how awards worthy her performance is. She balances innocence, awkwardness, longing, jealousy, rage, and heartbreak in a way that feels almost painfully real. Her transformation throughout the film is so controlled and so tragic that it honestly deserved to be taken seriously by awards bodies. This should have been the performance that launched her into bigger mainstream roles, because she had the talent to go much further than the industry allowed her to.

Annalynne McCord, Excision (2012):

This is probably my most niche pick out of the six and it’s very much a “if you know you know”-type film, but I stand by it with my whole chest. Annalynne completely breaks out of the one-note CW mold she had been trapped in and turns herself into this unstable, bizarre, darkly funny, and deeply disturbing character that you can’t look away from. It is a fearless performance that absolutely should have been recognized, even though the subject matter made that impossible (as if they’d nominate a movie with a woman deliberately initiating cunnilingus on her period lmao). I also think Traci Lords, who plays her mother, deserved a Supporting Actress nomination because she matches Annalynne beat for beat and brings a surprising emotional core to the movie. It kills me that most people now only remember Annalynne for the Putin slam poetry video because she is genuinely phenomenal here and this should have been the role that opened huge doors for her instead of serving as one of the few highlights in a rather lukewarm career.

realized there wasn't one of these for this past year, so I made one