The actress was nominated for best actress during the March ceremony, but the Academy Award ultimately went to Emma Stone for Poor Things. However, Gladstone recently toldEsquire that “nobody was upset” that she didn’t win.
The Under the Bridge star recalled her “beautiful trip home,” and how her tribe’s “whole confederacy came together for a Lily Gladstone Day. It was the biggest honor anybody could get. The confederacy decided together that they wanted to do it. It was a beautiful homecoming.”
She added, “Two thousand people showed up, from every corner of the US. It was absolutely one of the most moving things that has ever happened in my life.”
Ahead of the event, Gladstone explained that Blackfeet Nation leaders did preemptively assume she would be coming home with a gold statuette, so when she lost, it led to a “funny” call.
“The organizers of the event called me beforehand and they said that they’d got a bunch of little cardboard cut-outs of gold-man statues that looked like an Oscar, to give to the kids. They asked if that was okay, or if it was gonna hurt my feelings. I said: ‘No, absolutely not,’” the actress recalled. “That’s just the whole thing of award campaigns and the competitive nature of pitting art against art. Clearly this film, in this moment, had meaning. It did its job.”
She continued, “Yeah, nobody was upset that it didn’t happen. I feel like when the Golden Globe happened (Gladstone won best actress), a lot of people who are very far away from the industry just kind of thought it was the Oscars. It’s about the fact that [the film has] been awarded and it’s historic, and it’s still just a really meaningful moment. So it’s irrelevant whether or not I walked home with that statue in hand.”
Gladstone added that “regardless of how things turned out,” she’s just fortunate to “have work coming out and I have work lined up,” including some of her most recent projects,Fancy Danceand The Memory Police.
Despite her Oscars loss, the actress took to her social media after the 2024 Academy Awards to express her gratitude for fans’ support throughout the award season.
“Feeling the love big time today, especially from Indian Country. Kittō”kuniikaakomimmō”po’waw – seriously, I love you all,” she posted on X (formerly Twitter) at the time. “(Better believe when I was leaving the Dolby Theater and walked passed the big Oscar statue I gave that golden booty a little Coup tap – Count: one).”
“When watching the Osage Singers at the Oscars, my inner voice said ‘They’re the ones bringing us all up on stage tonight, that’s how it should be,’” she wrote. “The history in the film and of the moment rightfully belong to the Osage Nation. What an honor to be close enough to feel the drum.””
After enduring the pandemic and a pair of industry-stopping strikes, Hollywood seemed extra jazzed about celebrating itself at this year’s Oscars. While there weren’t a ton of genre movies on the ballot—truly, last year’s Everything Everywhere All at Once sweep still feels rather validating—a few did find their way to the podium.
What Should Fans Take Away from Imaginary?
Most notably it was Poor Things leading the charge for genre, including a Best Lead Actress win for Emma Stone for her portrayal of Bella Baxter—arguably only rivalled by Oppenheimer, which took home the trio of big wins in Best Lead Actor, Best Director, and Best Picture. Barbie, amid a sea of discourse after nominees were initially announced earlier this year about perceived snubs, home only one win for original song out of its slate of nominations. Here are all the winners (plus their fellow nominees) from the 2024 Academy Awards. And may we just say, if Best Visual Effects winnerGodzilla Minus One does get a sequel, we hope it makes it into more categories than its Best Picture-worthy predecessor.
Best Supporting Actor
Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Winner: Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)
Best Supporting Actress
Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Winner: Da’vine Joy Randolph (The Holdovers)
Best Animated Feature Film
Winner: The Boy and the Heron
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse
Best Animated Short Film
“Letter to a Pig”
“Ninety-Five Senses”
“Our Uniform”
“Pachyderme”
Winner: “War Is Over! Inspired by the Music of John and Yoko”
Best Costume Design
Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (David Crossman & Janty Yates)
Oppenheimer (Ellen Mirojnick)
Winner: Poor Things (Holly Waddington)
Best Live-Action Short
“The After”
“Invincible”
“Knight of Fortune”
“Red, White and Blue”
Winner: “The Wonderful Story of Henry Sugar”
Best Makeup and Hairstyling
Golda
Maestro
Oppenheimer
Winner: Poor Things
Society of the Snow
Best Original Score
American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Winner: Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)
Best Sound
The Creator
Maestro
Mission Impossible: Dead Reckoning
Oppenheimer
Winner: The Zone of Interest
Best Adapted Screenplay
Winner: American Fiction (Cord Jefferson)
Barbie (Noah Baumbach & Greta Gerwig)
Oppenheimer (Christopher Nolan)
Poor Things (Tony McNamara)
The Zone of Interest (Jonathan Glazer)
Best Original Screenplay
Winner: Anatomy of a Fall (Arthur Harari & Justine Triet)
The Holdovers (David Hemingson)
Maestro (Bradley Cooper & Josh Singer)
May December (Samy Burch & Alex Mechanik)
Past Lives (Celine Song)
Best Cinematography
El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Winner: Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)
Best Documentary Feature Film
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill a Tiger
Winner: 20 Days in Mariupol
Best Documentary Short Film
The ABCs of Book Banning
The Barber of Little Rock
Island in Between
Winner: The Last Repair Shop
Nai Nai & Wài Pó
Best Film Editing
Anatomy of a Fall
The Holdovers
Killers of the Flower Moon
Winner: Oppenheimer
Poor Things
Best International Feature Film
Io Capitano
Perfect Days
Society of the Snow
The Teacher’s Lounge
Winner: The Zone of Interest
Best Original Song
“The Fire Inside” (Flamin’ Hot)
“I’m Just Ken” (Barbie)
“It Never Went Away” (American Symphony)
“Wahzhazhe (A Song For My People)” (Killers of the Flower Moon)
Winner: “What Was I Made For” (Barbie)
Best Production Design
Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Winner: Poor Things
Best Visual Effects
The Creator
Winner:Godzilla Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible — Dead Reckoning, Part One
Napoleon
Best Lead Actor
Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Winner: Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)
Best Lead Actress
Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)
Best Director
Justine Triet (Anatomy of a Fall)
Martin Scorcese (Killers of the Flower Moon)
Winner: Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Johanathan Glazer (Zone of Interest)
Best Picture
American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Winner: Oppenheimer
Past Lives
Poor Things
The Zone of Interest
What did you think of this year’s winners? Any favorite moments from the ceremony? Share in the comments below!
The 96th annual Academy Awards on Sunday will bring together nominees that include box office record-breakers, Hollywood veterans, newcomers and more than one epic drama as big players and even bigger films contend for prestigious recognition. The 2024 Oscar ballot promises to make for an interesting night. So, ahead of the show, entertainment industry experts shared their predictions for the outcomes of some of the top categories.
Who will win the Oscar for best picture?
“Oppenheimer” is the clear frontrunner to win the Oscar for best picture. Christopher Nolan’s epic historical drama about the nuclear physicist known as “the father of the atomic bomb” leads nominations at the Academy Awards this year, with 13 nods.
It has also already taken home every precursor prize at earlier awards shows this season — including in equivalent categories at the Critics Choice and Golden Globe Awards, as well from the Screen Actors Guild, Directors Guild, Producers Guild and British Academy — giving big hints as to how it will fare in Sunday’s best picture race.
“I think there would be a crazy upset if ‘Oppenheimer’ did not win, simply because it has swept,” said Lilliana Vazquez, a television presenter and lifestyle expert who previously hosted E! News. “That’s always a really big indicator, if all of the individual guilds can come together and anoint a clear winner, then I think you really have to watch out for that specific film, in whatever category, or that particular actor or actress.”
Films rarely earn such broad industry-wide support, and those that have typically go on to receive the Oscars’ top accolade, like “Argo” and “Slumdog Millionaire” in recent decades.
“I’m not sure if we’ve had an overwhelming favorite like ‘Oppenheimer’ in a while, but ‘Oppehnheimer’ really is the favorite to win best picture,” said Erik Davis, the managing editor at Fandango, who praised the film for its achievements on multiple fronts, including its narrative, cast performances, cinematography, editing and score.
“All of the parts of ‘Oppenheimer,’ when it’s assembled, help push it over the line for best picture, because it’s more than just an entertaining film,” Davis added. “Across the board, I think this film achieves at an Oscar-winning level.”
Vazquez echoed that sentiment.
“‘Oppenheimer,’ for me, is a lock,” she said. “I think it hits on so many different levels. That style of film, the script, the acting, is so good. Sometimes, you get these indie darling films and people are like, ‘I don’t understand it.’ This is a topic that everyone can connect to.”
“Oppenheimer” will contend for best picture alongside nine other films: “American Fiction,” “Anatomy of a Fall,” “Barbie,” “The Holdovers,” “Killers of the Flower Moon,” “Maestro,” “Past Lives,” “Poor Things” and “The Zone of Interest.”
Experts doubt any of those titles will manage to beat out Nolan’s movie, and they note that a loss for “Oppenheimer” in this category would probably be the shock of the night.
“I think it’s one of those versatile films that reached everyone. And, you know, we always gravitate towards historical dramas,” said Aramide Tinubu, a TV critic at Variety who is also betting on “Oppenheimer” to win. “As interesting as ‘The Holdovers’ was, and though it is kind of historically set, it’s a much quieter film. We love a good blockbuster here in America.”
But potential underdogs for the best picture prize could still include “The Holdovers,” Alexander Payne’s nostalgic crowd-pleaser, Justine Triet’s multilingual court drama “Anatomy of a Fall” or Yorgos Lanthimos’ offbeat sci-fi comedy “Poor Things,” which follows “Oppenheimer” with 11 Oscar nominations.
“The thing that’s most interesting about the race this year is, you can’t even tell what’s going to be runner-up,” said Joyce Eng, an entertainment journalist and senior editor at Gold Derby, an industry blog site that focuses on Hollywood awards predictions. Alongside Christopher Rosen, the site’s digital director, Eng co-hosts the podcast “Gold Derby Show,” where the two discuss and forecast awards season.
This image released by Universal Pictures shows actor Cillian Murphy in a scene from “Oppenheimer.”
Melinda Sue Gordon/Universal Pictures via AP
Rosen pointed out that the projected triumph by “Oppenheimer” in the best picture race is not only due to the fact that it has steamrolled through the awards circuit up to this point, but because it has all the makings of a winner. In addition to being a historical biopic, it was a critical hit and theatrical success, and both Eng and Rosen said the film’s early start as a supposed dark horse probably helped its popularity, too.
“I think it ran second a lot, at least over the summer, to ‘Barbie’ in terms of its box office and coverage. So, it had the sheen of an underdog even though it obviously wasn’t,” said Rosen, calling “Oppenheimer” a “perfect consensus movie on top of being the steamroller.”
“There’s been no fatigue with it being a frontrunner, either,” said Eng. “I think that’s key.”
Who will win the Oscar for best actor?
Similar to the race for best picture, experts are, for the most part, in agreement on the outcome of the best actor competition. Cillian Murphy, who starred as the namesake scientist in “Oppenheimer,” is favored to win this award, they said, owing to the huge success of the movie as well as Murphy’s previous wins at the SAG Awards and the BAFTAs — indicating strong support from industry members who overlap with the Oscars voting pool.
“It’s really hard to go against him [Murphy] with him having these two really important awards,” said Eng. “The only thing Cillian has lost in terms of televised award shows was the Critics Choice to Paul Giamatti, so I think that gave the impression that this race is closer than it might actually be.”
Eight out of the last 13 best actor prizes at the Academy Awards have gone to someone playing a real-life figure, Vazquez noted, adding that “people love a story that is rooted in reality.”
“Usually playing a real-life person is always a leg up, it seems, for best actor especially,” said Rosen. “And just the fact that ‘Oppenheimer’ is the best picture frontrunner … there’s really no reason why Cillian Murphy would ever have not won this. And the fact that he’s won the precursor awards really bears that out. So, I think it would be pretty surprising if he lost on Oscar night. Not unprecedented, obviously, but certainly surprising.”
Giamatti is nominated alongside Murphy in this category for his leading performance as an embittered boarding school teacher in “The Holdovers,” which has also won praise. Both veterans are first-time Oscar nominees for best actor, and, for Giamatti, the recognition came almost 20 years after what is remembered as an infamous snub in this category for his work in Payne’s 2004 comedy-drama “Sideways.”
That has led some to suggest that a best actor win by Giamatti is overdue, not to mention plausible, since he and Murphy won counterpart awards for comedic and dramatic acting at the Globes before arguably becoming each others’ greatest competition throughout the rest of awards season.
“Both men have won this award at various awards shows, so I think it’s definitely a two-man’s race in this category,” said Davis. “Cillian Murphy has come out on top a little bit more than Paul Giamatti, and I think that’s due to the fact that ‘Oppenheimer’ is a major frontrunner and due to all that it’s achieved this year.”
Also in the running for the Oscar for best actor are Bradley Cooper, for “Maestro;” Colman Domingo, for “Rustin;” and Jeffrey Wright, for “American Fiction.”
Who will win the Oscar for best actress?
How the best actress race will play out on Sunday has shaped up to be perhaps the most debated Oscar competition this year, with Lily Gladstone and Emma Stone pacing neck-and-neck for their respective performances in “Killers of the Flower Moon” and “Poor Things,” each of which was heralded as the gem of those movies.
“Similar to the actor category, both of these performances are very different from one another,” said Davis. “Emma Stone’s is a more physical performance, a more physical transformation, very out-there, very animated … whereas Lily Gladstone’s performance is much quieter. It’s much more internal.”
Both women took home best actress awards at the Golden Globes, in separate categories for comedy and drama, before Stone went on to win at the Critics Choice Awards and the BAFTAs. Gladstone took the prize at the SAG Awards in a historic win, becoming the first indigenous actor to receive the award. She would also be the first Native American actor to receive the Oscar in this category if she wins.
Lily Gladstone poses with her Golden Globe award for Best Performance by a Female Actor in a Motion Picture – Drama, for “Killers of the Flower Moon,” on Jan. 7, 2024.
ROBYN BECK/AFP via Getty Images
“I’m torn. I can’t call it between Lily Gladstone and Emma Stone,” said Tinubu. “I thought Lily would take it for a long time, but things have ramped up for Emma as well. I loved ‘Poor Things,’ that’s my film of the year, but I do think both women are very deserving. So that, to me, is a toss-up still.”
“Poor Things” was also Vazquez’s favorite film of 2023. She described Stone’s performance in it as “flawless” but still believes Gladstone will take the best actress prize.
“Would I love to see Emma Stone win another Oscar? One hundred percent,” said Vazquez. “Does she deserve another Oscar for this role? Yes, because the physicality of the role, matched with the emotion and also with the dialogue that she gives in the film is just insane. From that point of view, I would love to see her win it, if Lily Gladstone was not in this race.
“As a woman of color, seeing her be the first indigenous actress winner is incredible, for not just her community but for us as a country,” Vazquez continued. “And I think for her to shine the way that she did when she’s in a Scorsese film, and she’s sharing the screen with Leonardo DiCaprio and Robert De Niro, that is power. That transcends.”
Overall, the competition is fierce in this category, as Gladstone and Stone contend for the title against Annette Bening, who’s nominated for “Nyad” along with Sandra Hüller, for “Anatomy of a Fall” and Carey Mulligan, for “Maestro.”
Emily Mae Czachor is a reporter and news editor at CBSNews.com. She covers breaking news, often focusing on crime and extreme weather. Emily Mae has previously written for outlets including the Los Angeles Times, BuzzFeed and Newsweek.
LOS ANGELES — “Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic – already a winner at the Golden Globes and the BAFTAs – has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France – sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes – best ensemble and the four acting winners – have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
LOS ANGELES — “Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic – already a winner at the Golden Globes and the BAFTAs – has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France – sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes – best ensemble and the four acting winners – have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
LOS ANGELES — “Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic – already a winner at the Golden Globes and the BAFTAs – has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France – sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes – best ensemble and the four acting winners – have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
LOS ANGELES — “Oppenheimer” continued to steamroll through Hollywood’s awards season on Saturday, winning the top prize, for outstanding cast, along with awards for Cillian Murphy and Robert Downey Jr., at the 30th Screen Actors Guild Awards.
As the Academy Awards draw closer, Christopher Nolan’s blockbuster biopic – already a winner at the Golden Globes and the BAFTAs – has increasingly looked like the run-away favorite. The SAG Awards, one of the most telling Oscar predictors, will only add to the momentum for “Oppenheimer,” the lead Academy Awards nominee with 13 nods.
The SAG Awards were streamed live on Netflix, a first for a major Hollywood award show. That made for some significant tweaks to the age-old traditions of such ceremonies. There were no ads. Profanity was permitted. (“Don’t say anything you wouldn’t say in front of Oprah,” said Idris Elba.) And winners were occasionally interviewed backstage by red-carpet co-host Tan France – sometimes awkwardly, sometimes charmingly.
The SAG Awards don’t always signify Oscar success. Two of the last five winners from the guild (“The Trial of the Chicago 7” and “Black Panther”) lost at the Academy Awards. But in the past two years, all five of the top SAG prizes – best ensemble and the four acting winners – have corresponded with the eventual Oscar winners, including the ensembles for “Everything Everywhere All at Once” and “CODA.”
That could mean the SAGs offered an Oscar preview in two of the closest contests: best actor and best actress.
The night’s most thrilling win went to Lily Gladstone for female actor in a leading role in Martin Scorsese’s “Killers of the Flower Moon.” No category has been more hotly contested, with analysts evenly split between Gladstone and Emma Stone for “Poor Things.”
But Gladstone won Saturday and the crowd erupted. Stone, too, stood and vigorously applauded. More is riding on Gladstone than perhaps any other Oscar contender this year. Her win would be a first for Native Americans.
“We bring empathy into a world that so much needs it,” said Gladstone. “It’s so easy to distance ourselves. It’s so easy to close off, to stop feeling. And we all bravely keep feeling. And that humanizes people. That brings people out of the shadows. It brings visibility.”
Murphy and Paul Giamatti (“The Holdovers”) have also been seen as in a neck-and-neck contest. But Murphy has now won at the SAGs, the BAFTAs and Globes, suggesting he has the clear edge heading into the Academy Awards.
Downey Jr. and Da’Vine Joy Randolph each won for their supporting performances, likewise solidifying their status as Oscar favorites.
“Why me? Why now? Why do things seem to be going my way?” said Downey Jr., accepting his first SAG Award for a film performance. “Unlike my fellow nominees, I will never grow tired from the sound of my own voice.”
Randolph’s performance in Alexander Payne’s “The Holdovers” has been a breakthrough role for the 37-year-old actor. Now, she appears poised to win the Academy Award.
“To every actor out there still waiting in the wings for their chance, let me tell you: Your life can change in a day,” Randolph said. “It’s not a question of if but when. Keep going.”
After more than two decades airing on TNT and TBS to dwindling viewership, Netflix acquired telecast rights to the SAG Awards in early 2023. Netflix, a dominant force for years in awards season, turned host, too.
“Personally, I can’t wait to get home and have Netflix recommend this show to me based on all the other stuff that I watch myself in,” joked Idris Elba, the night’s de facto emcee.
The TV awards went largely to the same shows that have cleaned up at the Emmys and Golden Globes: “The Bear” (best comedy series ensemble, Jeremy Allen White, Ayo Edebiri ); “Beef” (Ali Wong, Steven Yeun); and the cast of “Succession.”
One exception was Pedro Pascal, who won best male actor in a drama series for “The Last of Us” over a trio of “Succession” stars.
“This is wrong for a number of reasons,” said a visibly stunned Pascal. “I’m a little bit drunk. I thought I could get drunk.”
This year’s SAG Awards follows a grueling months-long strike in which the SAG-AFTRA union fought a bitter battle over a number of issues. Much of the work stoppage was prompted over changes in the film and TV industry brought on by streaming and a sea change led by Netflix.
“Your solidarity ignited workers around the world, triggering what forever will be remember as ‘the hot labor summer,’” said Fran Drescher, president of SAG-AFTRA. “This was a seminal moment in our union’s history.”
The new streaming platform was sure to put even more of a spotlight on one of the most closely-watched predictors of the Academy Awards. Oscar voting wraps Tuesday.
Barbra Streisand held the audience in rapt attention while accepting a lifetime achievement award, presented by Jennifer Aniston and Bradley Cooper.
“I remember dreaming of being an actress as a teenager sitting in my bed in Brooklyn with a pint of coffee ice cream and a movie magazine,” said Streisand, who recalled being transfixed by “my first crush,” Marlon Brando.
Streisand also took a moment to celebrate the Jewish pioneers of Hollywood.
“Now I dream of a world where such prejudice is a thing of the past,” she said.
Saturday’s show was one of Netflix’s most significant forays yet into live streaming events. Netflix has previously hosted a live Chris Rock comedy special, a celebrity golf tournament and a live reunion “Love Is Blind” episode that was marred by technical difficulties. But Netflix is gearing up for more. On March 3, it will stream a live tennis event.
Better yet, these achievements could happen across all types of categories, from best picture and directing to acting and various technical categories.
While you get your predictions in order for Hollywood’s biggest night, we’ve got you covered on potential historic wins you should keep an eye on.
Here are some moments to watch out for at the 2024 Oscars.
Lily Gladstone could make history for Native Americans
This image released by Apple TV+ shows Lily Gladstone, center, in a scene from “Killers of the Flower Moon.” (Apple TV+ via AP)
Apple TV+ via AP
Lily Gladstone would be the first Native American woman to win the Oscar for best actress should her performance in “Killers of the Flower Moon” triumph against the competition.
Not only that, but she would also become the first person of Native American heritage to win an acting Oscar.
In a phone call with ABC News after her historic nomination, Gladstone said she is excited for others in her community to “feel seen and represented.”
Gladstone is of Siksikaitsitapi and NiMíiPuu heritage and uses she/they pronouns, according to her Instagram.
‘Oppenheimer’ could join — or beat — an elite group of films
This image released by Universal Pictures shows Cillian Murphy as J. Robert Oppenheimer, left, and Emily Blunt as Kitty Oppenheimer in a scene from “Oppenheimer.”
Universal Pictures via AP
“Oppenheimer” scored an impressive 13 nominations this year, positioning the film to potentially tie — or even break — the record for the most Oscar wins by a single film.
The record currently stands at 11 and is held by “Ben-Hur” in 1960, “Titanic” in 1998 and “The Lord of the Rings: The Return of the King” in 2004.
Martin Scorsese could set a new record for best director
Martin Scorsese waves while holding his Oscar for his work on “The Departed” as he arrives at the annual Vanity Fair Oscar party in West Hollywood, Calif. on Feb. 25, 2007.
AP Photo/Danny Moloshok
With his best director nomination for “Killers of the Flower Moon,” Martin Scorsese became the most-nominated living director.
This is Scorsese’s 10th nomination in the category, putting him two behind the late William Wyler, who holds the record with 12 nominations.
This year, Scorsese also became the oldest nominee in the category’s history at 81 years old. If he wins the Oscar, he would become the oldest best director winner.
Sandra Hüller could score a historic win
This image released by Neon shows Sandra Hüller in a scene from “Anatomy of a Fall.”
Neon via AP
If she wins the best actress Oscar for her role in “Anatomy of a Fall,” Sandra Hüller would become the 1st German-born actress to win in the category in more than 60 years.
Simone Signoret, who was born in Germany but is best known as a French actress, won the best actress Oscar for “Room at the Top” at the 1960 ceremony.
A non-English language film could make history in the best picture category
This image released by A24 shows Greta Lee, left, and Teo Yoo in a scene from “Past Lives.”
Jon Pack/A24 via AP
Three films in the best picture category — “Anatomy of a Fall,” “Past Lives” and “The Zone of Interest” — could make history with a best picture Oscar win this year.
Only one non-English language film has won best picture. The first to do so, “Parasite,” won the top prize in 2020.
“Anatomy of a Fall,” from France, features French, English and German spoken throughout the film. “Past Lives,” an American film, features both English and Korean.
“The Zone of Interest,” a co-production between the United Kingdom and Poland and the U.K.’s submission for international feature film, is the only film to feature no spoken English. German is predominantly spoken throughout.
Emma Stone could achieve a rare feat
This image released by Searchlight Pictures shows Emma Stone in a scene from “Poor Things.”
(Searchlight Pictures via AP)
With her nominations for best actress for her performance in “Poor Things” and for best picture for producing the film, Emma Stone could pull off a rare double win.
Stone would become the second woman to win for acting and best picture for the same film, the first being Frances McDormand for “Nomadland” in 2021.
Colman Domingo could win big for Afro-Latinos
This image released by Netflix shows Jeffrey Mackenzie Jordan, left, and Colman Domingo as Bayard Rustin in a scene from “Rustin.”
Parrish Lewis/Netflix via AP
Colman Domingo could make history if he wins the Oscar for best actor for playing gay Civil Rights activist Bayard Rustin in “Rustin.”
Should he take home the trophy, Domingo would become the first actor of Afro-Latino descent to win in the category.
‘American Fiction’ could deliver historic double win for Black actors
From left to right: Jeffrey Wright and Sterling K. Brown pose for portraits during the Oscar nominees luncheon on Feb. 12, 2024 at the Beverly Hilton Hotel in Beverly Hills, Calif.
AP Photo/Chris Pizzello
Jeffrey Wright and Sterling K. Brown play brothers in “American Fiction,” and each earned Oscar nominations for their work in the film.
If Wright wins best actor and Brown wins best supporting actor, it would mark the first time two Black male actors won Oscars for the same film.
Bradley Cooper could direct himself to acting win
This image released by Netflix shows Bradley Cooper as Leonard Bernstein in a scene from “Maestro.”
Jason McDonald/Netflix via AP
Bradley Cooper, who is up for best actor for playing famed composer Leonard Bernstein in “Maestro,” could join a small group of people who have directed themselves to acting wins.
If he achieves this, Cooper would be just the third person to do so. The first was Laurence Olivier for “Hamlet” in 1949 and Roberto Benigni for “Life Is Beautiful” in 1999.
Thelma Schoonmaker could become most-awarded film editor
Thelma Schoonmaker arrives at the 96th Academy Awards Oscar nominees luncheon on Monday, Feb. 12, 2024, at the Beverly Hilton Hotel in Beverly Hills, Calif.
Photo by Jordan Strauss/Invision/AP
Thelma Schoonmaker, Scorsese’s longtime film editor, could make history as the winningest person in the best film editing category if she wins for her work on “Killers of the Flower Moon.”
With a potential fourth win, Schoonmaker would have more Oscars for best editing than anyone else in history.
Schoonmaker has previously won Oscars for editing “Raging Bull,” “The Aviator” and “The Departed.”
John Williams could hit a high note
Composer John Williams poses on the red carpet at the 2016 AFI Life Achievement Award Gala Tribute to John Williams in Los Angeles on June 9, 2016.
Photo by Chris Pizzello/Invision/AP, File
With his nomination this year for best original score for “Indiana Jones and the Dial of Destiny,” John Williams became the oldest person to be nominated for an Oscar across all competitive categories at the age of 91.
Having recently celebrated a birthday, the 92-year-old could become the oldest person to win an Oscar if he takes home the trophy this year.
James Ivory currently holds the record as the oldest Oscar winner with his win for best adapted screenplay for “Call Me By Your Name” at the age of 89 at the 2018 ceremony. Ivory is now 95.
Williams is the most-nominated living person in Academy Awards history with 54 nominations — only behind the late Walt Disney, who has the most nominations ever for a person, with 59.
Justine Triet could become latest female best director winner
Justine Triet poses for a portrait during the 96th Academy Awards Oscar nominees luncheon on Monday, Feb. 12, 2024, at the Beverly Hilton Hotel in Beverly Hills, Calif.
AP Photo/Chris Pizzello
With her nomination for best director, Justine Triet became only the eighth woman to be nominated in the category in Oscars history.
Should she win, Triet would become just the fourth woman to win best director, following in the footsteps of Kathryn Bigelow, who won in 2009 for “The Hurt Locker”; Chloé Zhao, who won in 2021 for “Nomadland”; and Jane Campion, who won in 2022 for “The Power of the Dog.”
March 10 is Oscar Sunday! Watch the 2024 Oscars live on ABC.
Red carpet coverage starts at 1 p.m. ET 10 a.m. PT with “Countdown to Oscars: On The Red Carpet Live.” At 4 p.m. ET 1 p.m. PT, live coverage continues with “On The Red Carpet at the Oscars,” hosted by George Pennacchio with Roshumba Williams, Leslie Lopez and Rachel Brown.
Watch all the action on the red carpet live on ABC, streaming live on OnTheRedCarpet.com and on the On the Red Carpet Facebook and YouTube pages.
The 96th Oscars, hosted by Jimmy Kimmel, begins at 7 p.m. ET 4 p.m. PT, an hour earlier than past years.
The Oscars are followed by an all-new episode of “Abbott Elementary.”
It’s been a star-filled weekend in Santa Barbara, with a dozen of A-listers — including numerous Oscar nominees — making their way to the American Riviera for events at the 39th Santa Barbara International Film Festival.
On Friday night, inside the 2,000-seat Arlington Theater, which was sold out, the fest celebrated Robert Downey Jr. with its Maltin Modern Master Award, which is named after the film critic/historian Leonard Maltin. Maltin moderated a brisk career retrospective conversation with the Oppenheimer best supporting actor Oscar nominee, who charmed the audience with his self-deprecating humor and imitations of everyone from Richard Attenborough to his late father Robert Downey Sr., prior to Downey’s costar Cillian Murphy presenting him with the award itself.
During the interview, the honoree, 58, reflected on growing up as the son of an independent filmmaker who cast him in a movie, 1970’s Pound, when he was just five. “I think this is what I was supposed to do,” the younger Downey said of acting, deadpanning, “I didn’t really have the panache to be a waiter, I was told, so I had to resort to theater.”
Downey was a fast-rising star of ’80s and early ’90s American cinema. He discussed with Maltin 1985’s Weird Science, 1987’s Less Than Zero (“a ghost of Christmases Future”), 1989’s Chances Are and True Believer, and 1992’s Chaplin (for which he received his first Oscar nomination, noting that directorAttenborough “changed my life”). The actor Rob Lowe, a high school classmate and fellow ’80s heartthrob who is still a friend, made a surprise mid-interview appearance to compliment his friend’s work from that era.
Infamously, Downey, in the mid-1990s, began a major battle with addiction. But he re-emerged in the mid-2000s, clean and as talented as ever, in films like 2005’s Kiss Kiss Bang Bang (on which he met his future wife, Susan Downey), 2007’s Zodiac and 2008’s Tropic Thunder (for which he received his second Oscar nom), before exploding to superstardom as Marvel’s Iron Man, a character he played in numerous films released between 2008 through 2019.
Then, in 2022, Downey and his wife produced Sr., a documentary about his complicated relationship with his father, who died in 2021. He now reflects, “That was really the beginning of this new kind of phase that I’m in,” which is widely expected to culminate with his first Oscar win.
Murphy, who was introduced to a huge ovation, told the crowd: “I’ve never worked with or met anyone like Robert Downey Jr., truly. Aside from his staggering talent and his otherworldly range, he has managed to awe us with both his character and his leading man performances, his searing dramatic performances and his gut-busting comedic performances, he’s taken on and triumphed in every imaginable kind of role… It’s just mind-bending what this man his done. In my opinion, he is the most versatile actor of his generation, most likely of many generations… Robert works incredibly hard to make it look so easy, as all the great ones do. But he’s not just a great actor, he’s a kind of a unicorn, because he’s a great actor who has also risen to the level of superstardom that few of us can comprehend. I think that is because he is one of the kindest, funniest, most generous actors I have ever worked with, and all of that comes out on the screen. You see it in every single performance.””
On Saturday night, TCM host Dave Karger, for the 14th consecutive year, emceed the fest’s Virtuosos Award evening, a celebration of performers who achieved breakthroughs over the past year, which was another Arlington Theatre sell-out. Before Karger took the stage, though, Scott George and a host of fellow Osage singers and drummers performed a rousing rendition of “Wahzhazhe (A Song for My People),” George’s Oscar-nominated original song from Killers of the Flower Moon.
Then Karger introduced six of the eight pre-announced honorees for brief individual interviews: Barbie best supporting actress Oscar nominee America Ferrera, All of Us Strangers lead actor Andrew Scott, May December supporting actor Charles Melton, The Holdovers best supporting actress Oscar nominee Da’Vine Joy Randolph, Past Lives lead actress Greta Lee and Killers of the Flower Moon best actress Oscar nominee Lily Gladstone — Rustin best actor Oscar nominee Colman Domingo and The Color Purple best supporting actress Oscar nominee Danielle Brooks had to pull out of the event due to filming obligations — noting that, by happenstance, all were performers of color and/or members of the LGBTQ community. He cracked, “In other words, you are not going to see one straight white person on stage all night long.”
Ferrera spoke about the celebrated monologue that she was asked to deliver in Barbie (“I’m just so glad I didn’t eff it up”) and what her Academy recognition means to her (“an Oscar nomination has been on the list of dreams since I was like five — let’s not pretend that I haven’t practiced that speech a thousand times”).
Scott discussed how meaningful it was for him to show All of Us Strangers, which depicts a same-sex relationship, in his native Ireland, where it used to be illegal for men to hold hands. Melton responded to questions about his level of anxiety going into May December (“I was really nervous going in — I mean, it’s Natalie Portman and Julianne Moore“) and gaining 40 pounds to play his role (“It was fun for me, I got to eat whatever I wanted”).
Randolph said that she shot The Holdovers more than two years ago (it was held back after being bought by Focus Features following a private screening at the 2022 Toronto International Film Festival). Lee, meanwhile, said she had spent 20 years playing supporting roles prior to Past Lives, which she described as “everything I had been searching for my whole life” and, in a reference to the film itself, “inyun.”
And Gladstone reflected on becoming the first Indigenous American best actress Oscar nominee, noting that she was personally gratified, but also frustrated that Indigenous Americans have gone so long without such recognition: “It’s long overdue — this is the 96th Academy Awards,” she said, adding, “The Super Bowl’s tomorrow. We haven’t come that far if you look at one of the teams that’s playing [the Chiefs].”
On Sunday, the fest squeezed in one final tribute ahead of the Super Bowl. At the Arlington, Jazz Tangcay moderated the Variety Artisans Award tribute to a host of Oscar nominees: Barbie songwriters Billie Eilish and Finneas (the siblings behind “What Was I Made For?” were certainly the main draw), Guardians of the Galaxy Vol. 3 VFX supervisor Stephane Ceretti, Oppenheimer composer Ludwig Göransson, Barbie production designer Sarah Greenwood and set decorator Katie Spencer, Maestro hairstyling/makeup artist Kazu Hiro, Oppenheimer film editor Jennifer Lame, Killers of the Flower Moon cinematographer Rodrigo Prieto, Spider-Man: Across the Spider-Verse sound re-recording mixer Michael Semanick and Poor Things costume designer Holly Waddington.
Speaking of Poor Things, the film’s best supporting actor nominee Mark Ruffalo will be at the Arlington on Sunday night for a career-retrospective conversation ahead of the presentation to him of the fest’s American Riviera Award.
Lily Gladstone is the frontrunner for the Best Actress Oscar, and fans are excited to see where they’re going next! Gladstone will lead Charlie Kaufman’s adaptation of The Memory Police with Reed Morano directing. The film will reunite them with Killers of the Flower Moon director Martin Scorsese, who is onboard as an executive producer.
The announcement comes after Gladstone made history this week as the first Indigenous American actor from the United States to be nominated for an Academy Award. We are excited to see what Gladstone brings to this new role!
Scorsese is executive producing the film alongside Yoko Ogawa, who wrote the novel that Kaufman will be adapting. Both Morano and Margot Hand of Picture Films will produce, according to The Hollywood Reporter. This adaptation is particularly exciting because it puts Gladstone in a completely new genre that they seem to love: science fiction.
Gladstone has talked about how they wanted to be an Ewok when they were growing up. More than that, The Memory Police, which was released in 1994, is a fascinating story to see come to life on screen.
According to the synopsis on Amazon, the novel is described as follows: “On an unnamed island off an unnamed coast, objects are disappearing: first hats, then ribbons, birds, roses—until things become much more serious. Most of the island’s inhabitants are oblivious to these changes, while those few imbued with the power to recall the lost objects live in fear of the draconian Memory Police, who are committed to ensuring that what has disappeared remains forgotten.”
It sounds like a perfect fit for both Kaufman (Being John Malkovich, Eternal Sunshine of the Spotless Mind) as well as Morano (The Handmaid’s Tale). More than anything though, I’m eagerly anticipating what Gladstone brings to the story.
I’m just excited for more of Lily Gladstone
While Gladstone is an acclaimed actor, Killers of the Flower Moon has put them on the map in a major way. Movies like The Memory Police work because we’re often obsessed with themes of memory and reminiscence. Gladstone’s excitement for the genre is just icing on the cake.
Gladstone discussed the films that inspired them while growing up in Montana. During a roundtable for The Hollywood Reporter with fellow awards season actresses, Gladstone expressed their love for movies and how they connected back to life growing up on the Reservation.
Watching Gladstone dive into the science fiction genre is perfection. I can’t wait to see what they bring to The Memory Police! Until we know more, we can just bask in the knowledge that we have another Lily Gladstone project to look forward to. In the meantime, you can get your Lily Gladstone fix in the third and final season of Reservation Dogs currently streaming on Hulu.
Lily Gladstone joins “CBS Mornings” after her landmark Oscar nomination for Best Actress in “Killers of the Flower Moon,” making history as the first Native American nominee in this category.
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The Golden Globe Awards returned after a tumultuous few years with a revamped ceremony hosted by comedian Jo Koy. Christopher Nolan’s “Oppenheimer” dominated the film categories, and Lily Gladstone made history as the first Native American to win a Golden Globe. On the television side, “The Bear” and “Succession” won big. “Entertainment Tonight” co-host Nischelle Turner has all the details.
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The Golden Globes is no stranger to being riddled with scandal. Even in the 1950s, when it was still a relatively germinal organization (with the first edition airing in 1944), the awards ceremony was “renowned” for taking what amounted to bribes and payoffs via various “gift-giving” endeavors from studios, production companies and individual stars themselves. By the 60s, the Golden Globes were exposed for determining their winners based on advertiser influence, and that, furthermore, the Hollywood Foreign Press Association (HFPA) put pressure on nominees to attend the ceremony, lest they lose their win to another nominee who actually did attend. The entire thing was such a shitshow—such a complete and blatant display of nepotism and abuse of power—that the ceremony was actually banned from being aired on television between 1969 and 1974.
Scarcely back on the air for a full ten years after returning post-1974, the next major scandal was Pia Zadora’s “miraculous” win for “New Star of the Year” (another made-up award in the vein of Cinematic and Box Office Achievement) thanks to her performance in Butterfly, a movie that was both unanimously panned and had not even been released yet at the time the awards ceremony aired. Not so hushed whisperings about how Zadora’s husband, Turkish-Israeli financier Meshulam Riklis, bought her the award led to a further degradation in the Golden Globes’ credibility. Yet this has never stopped the show from enduring. In fact, from being second only to the Academy Awards in terms of prestige and well-knownness to the layperson outside of Hollywood. Yet, as Scarlett Johansson once called out, the show was merely used as a tool by the likes of Harvey Weinstein to curry Oscar favor. Hence, the flagrancy of bribery.
Some cynics would even argue that it surely can’t be a coincidence that the only time Madonna was ever recognized for her acting ability was thanks to the Golden Globes, as she won the award (in 1997) for Best Actress in a Motion Picture – Musical or Comedy for Evita. The HFPA had a less speculative case of being paid off for the 2011 Golden Globes, when both Burlesque and The Tourist managed to secure nominations in the Best Motion Picture – Musical or Comedy category. This despite Burlesque being a critical laughingstock (though, yes, it is lauded by those who appreciate camp) and the fact that The Tourist was a spy/action-adventure movie. Needless to say, HFPA members were cajoled into nominating these films thanks to getting “flewed out” to Las Vegas to see a Cher concert and a little personal lobbying from Angelina Jolie herself re: The Tourist.
At the end of 2020, amid then-fervent cries about changing Hollywood’s openly discriminatory practices as a result of the overall anti-racist spark ignited by George Floyd’s murder in May of that year, the Golden Globes were once again put on blast for a lack of Black members and generally arcane membership “policies.” So it was that, yet again, the awards ceremony was barred from being aired on television in 2022, with Tom Cruise going so far as to return the Golden Globes he won as a show of “solidarity” the year before. By 2023, the organization had been (theoretically) totally revamped, sold off to Eldridge Industries (also known for buying Dick Clark Productions) and repackaged as a for-profit entity with a larger and more “diverse” membership working behind the scenes to nominate people and the films they’re part of. Not only that, but as Robert Downey Jr. pointed out during his acceptance speech this year, the organization changed its name, doing away with the HFPA altogether. It also transitioned to a new network, swapping NBC out in favor of CBS, billed as the “less fun” of the Big Three broadcast networks (NBC, ABC and CBS). And, indeed, it didn’t seem like much fun for anyone when the last-minute host, Jo Koy (relatively unknown up until this moment), took the stage to deliver a monologue that induced cricket-chirping silence (though Taylor Swift really didn’t need to be so uppity about the harmless “difference between the NFL and Golden Globes” joke that Koy made).
Luckily, things picked up slightly as the evening wore on, and viral moments of levity were provided, including Jennifer Lawrence mouthing, “If I don’t win, I’m leaving” and what felt like two minutes of watching Timothée Chalamet (who, mercifully, did not win for Best Actor in Wonka) and Kylie Jenner “canoodling” and saying shit to the effect of, “No, I love you more.” It was pretty nasty (and not nearly as noteworthy as Ali Wong’s show of PDA with Bill Hader), but obviously the stuff of viral and meme gold. Even that “bit” between Kristen Wiig and Will Ferrell presenting the award for Best Actor in a Motion Picture – Musical or Comedy proved to, for whatever reason, endlessly charm audiences. Which proves that the Golden Globes isn’t quite yet the stodgy, irrelevant entity that people would like to make most long-running institutions out to be.
That said, the presence of Taylor Swift and Billie Eilish (who also won the award for Best Original Song for “What Was I Made For?”) alone served as enough proof that the ceremony has carried on to subsequent generations. Even if only the most blanca and monoculture-oriented. But that didn’t stop the voters from doing their best to promote “inclusivity” in the lone manner they could: by giving the award for Best Actress in a Motion Picture – Drama to Lily Gladstone for her performance as Mollie Burkhart in Killers of the Flower Moon. Even if there were many Native Americans who weren’t quite as moved by the film as some of the white viewers who watched it (a phenomenon that also seemed to occur with 2016’s Moonlight). In truth, Gladstone’s capitulation to the proverbial white male as the teller of an Osage story can be viewed as at Native American version of the Uncle Tom trope. And yet, how else is a girl (or boy) supposed to get representation in mainstream Hollywood without “cozying up” a bit?
This seemed to be the underlying theme of the night, with audience silence resounding well beyond the Jo Koy monologue in terms of nary a celebrity making any political statement. That’s right: for arguably the first time in history, celebrities at an awards ceremony were not feeling political. Almost as though to do so would be “too much” amid the tinderbox climate (figuratively and literally) of now. Particularly with regard to mentioning anything about Israel and Palestine. Which proves, once again, that Hollywood hypocrisy is alive and well no matter how much its awards ceremonies feign “evolution.” For how can an awards show really evolve if the industry itself hasn’t?
The 2024 Golden Globe Awards were filled with smiles, laughter, tears and record-breaking moments as well as some awkward ones from the presenters, winners, host and Hollywood audience. From Lily Gladstone and Ali Wong making history with their wins to host Jo Koy struggling to get laughs during his monologue and Kristen Wiig and Will Ferrell showing off their dance moves onstage, here are some of the night’s most memorable moments.
‘Succession’ Ties Golden Globes Record
Succession took home the Golden Globe Award for best TV drama series Sunday — tying a record for the awards in the process. The HBO series won its third Globe in the category, following its victories at the 2020 and 2022 ceremonies. Sunday’s victory ties it with The X-Files (1994, 1996 and 1997) and Mad Men (2007-09) for the most wins for best drama at the Golden Globes. Both Succession and The Crown came into the night with a chance to tie the record. Read more here. — Rick Porter
Lily Gladstone Makes Golden Globes History
It’s been exceedingly rare for Indigenous actors to play lead roles in Hollywood, even moreso for prestige, awards-contending projects. As such, it should be little surprise that Lily Gladstone’s 2024 Golden Globe win makes her the first Indigenous actor to win an award in the ceremony’s 81-year history. In taking home best actress in a motion picture, drama for their role in Martin Scorsese’s Killers of the Flower Moon, Gladstone (Blackfeet/Nimíipuu) makes history as the only Indigenous person to take home a Golden Globe. Irene Bedard is the only other actor to previously receive a nomination — for best actress in a miniseries or TV movie for 1994’s Lakota Woman: Siege at Wounded Knee — while director Taika Waititi was recognized for Jojo Rabbit’s best musical/comedy film nomination in 2020 and Reservation Dogs was nominated for best musical/comedy series in 2022. Read more here. — Rebecca Sun
… As Well As Ali Wong With Her Win
Ali Wong has struck gold in her first outing as a dramatic lead. The top stand-up comedian has won the 2024 Golden Globe for best actress in a limited series for her performance in Netflix’s Beef. Although Wong previously starred in the rom-com Always Be My Maybe and has a string of voice credits in animated comedies, Beef, with its darkly comic turns and existential meditations, was her first foray into substantive dramatic fare. As Amy Lau, a tightly-wound entrepreneur, wife and mother whose simmering self-loathing leads to an escalating battle of mutually assured destruction opposite Steven Yeun’s scammy contractor Danny (who also won a Golden Globe tonight), Wong, who executive produced the series, won widespread critical praise and is an Emmy nominee for the role. Read more here. — Rebecca Sun
Host Jo Koy Gets Defensive Amid Monologue Struggles
Well, there’s definitely been worse. First-time — and relatively last-minute — Golden Globes host Jo Koy struggled a bit to generate laughs during his monologue opening the 2024 awards show Sunday night. “I got the gig 10 days ago!” he told the Beverly Hilton’s celebrity-filled audience at one point. “You want a perfect monologue?” “Some I wrote, some other people wrote,” said Koy, who was announced as host on Dec. 21. “I wrote some of these and those are the ones you’re laughing at.” And later, after one joke got a tepid response, “That’s hilarious, I don’t care.” Read more here. — James Hibberd
‘Barbie’ Wins Award for New Golden Globes Category
More than five years after the Academy Awards introduced (and eventually pulled) a new category recognizing blockbuster films in an attempt to combat falling ratings, the Golden Globes have handed out its own award honoring high-grossing movies. Star Wars star Mark Hamill, who was at the center of one of the first blockbusters nearly 50 years ago, presented the award to Barbie, the top-grossing film of 2023. “Thank you so much for the Golden Globes for creating an award that celebrates movie fans,” said star and producer Margot Robbie, standing next to director and co-writer Greta Gerwig. Read more here. — Aaron Couch
Kristen Wiig and Will Ferrell Showcase Dance Moves on Stage
Kristen Wiig and Will Ferrell just couldn’t seem to get through their “serious” presentation at the 2024 Golden Globes Sunday and jokingly blamed “whoever is putting on this show.” While presenting the award for best male actor in a motion picture, musical or comedy (Paul Giamatti won for The Holdovers), the duo seemed to keep getting interrupted by a specific musical melody. “I’m not sure what that was,” Ferrell said after getting cut off mid-sentence the first time. As he continued, “Tonight we applaud the outstanding nominees, legends like Nicolas Cage, Matt Damon…” the Barbie actor got interrupted by the same song again. The pair eventually accepted their fate and just went with it, showing off their dance movies to the quite silly melody. Read more here. — Carly Thomas
“Killers of the Flower Moon” star Lily Gladstone paid tribute to the Blackfeet Nation after her win at Sunday’s Golden Globes by delivering part of her acceptance speech for best performance by an actress in a motion picture — drama in Blackfeet.
“I’m so grateful that I can speak even a little bit of my language, which I’m not fluent in, up here because in this business, Native actors used to speak their lines in English and then the sound mixers would run them backwards to accomplish Native languages on camera,” Gladstone said.
She called her win historic, and said it didn’t “belong to just me.”
Gladstone grew up on the reservation of the Blackfeet Nation in Montana.
Gladstone played Mollie Burkhart, an Osage woman who lived through the Osage murders in the early 1900s, in Martin Scorsese’s “Killers of the Flower Moon,” adapted from David Grann’s bestselling book of the same name.
Gladstone won Sunday’s award over Carey Mulligan, Sandra Hüller, Annette Bening, Greta Lee and Cailee Spaeny.
Actor Leonardo DiCaprio, who also starred in the movie, wore a pin with the symbol of the Osage Nation to the award show.
“She brought so much to, not only her character, but to the entire film,” DiCaprio previously said. “She was an amazing partner to have.”
Aliza Chasan is a digital producer at 60 Minutes and CBSNews.com. She has previously written for outlets including PIX11 News, The New York Daily News, Inside Edition and DNAinfo. Aliza covers trending news, often focusing on crime and politics.
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Lily Gladstone’s front-runner status in the best-actress race was solidified at the Golden Globes 2024, where she dedicated her historic win for Killers of the Flower Moon to “every little res kid, every little urban kid, every little native kid out there that has a dream.”
The actor, who was nominated alongside Anatomy of a Fall’s Sandra Hüller, Nyad’s Annette Bening, Past Lives’ Greta Lee, Maestro’s Carey Mulligan, and Priscilla’s Cailee Spaeny earned Killers’ sole win at the 81st Golden Globes. She began her powerful remarks by speaking in her native Blackfeet language. In English, Gladstone then thanked “the beautiful community nation that raised me, that encouraged me to keep going, keep doing this,” adding, “My mom, who even though she’s not Blackfeet, worked tirelessly to get this language into our classrooms so I had a Blackfeet-language teacher growing up.”
Gladstone acknowledged Hollywood’s history of erasing Native American actors and narratives onscreen, noting that “in this business, Native actors used to speak their lines in English” before a sound mixer would play the tracks backwards in order to approximate Native languages—a technique that produced gibberish passed off as authentic speech. “This is a historic win,” Gladstone continued. “It doesn’t belong to just me. I’m holding it right now, I’m holding it with all of my beautiful sisters in the film at the table over there, and my mother, standing on all of your shoulders.”
Accepting the honor for her performance as Mollie Kyle, whose community in the Osage Nation of 1920s Oklahoma was ravaged in a series of serial killings, Gladstone concluded her speech by thanking her cohort, including director Martin Scorsese, and costars Leonardo DiCaprio and Robert De Niro. “You are all changing things,” she said. “Thank you for being such allies.”
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A handful of awards season hopefuls headed to Santa Monica Beach on Saturday morning for Film Independent’s Spirit Award nominees brunch at Hotel Casa del Mar.
Killers of the Flower Moon star Lily Gladstone, the Spirit Awards honorary chair for the org’s Feb. 25 show, and Rustin star Colman Domingo teamed to host the event and hand out Emerging Filmmaker Awards including $75,000 in grants.
The Someone to Watch Award, presented by Stella Artois, was doled out to Mountains director Monica Sorelle. The honor, now in its 30th year, is meant to recognize “a talented first-time narrative filmmaker of singular vision who has not yet received appropriate recognition,” and comes with a $25,000 unrestricted grant.
The Truer Than Fiction Award was given to Set Hernandez, director of unseen. The award, which is in its 29th year and is “presented to a first-time director of nonfiction features who has not received significant recognition,” includes a $25,000 unrestricted grant.
The Producers Award presented by Bulleit Frontier Whiskey went to Monique Walton. The award, designed to honor “emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity, and vision required to produce quality, independent films.” This prize, in its 27th year, includes a $25,000 unrestricted grant funded by Bulleit Frontier Whiskey, which for the last several years has maintained a high-profile at the Spirit Awards.
“Understanding the enormous challenges independent artists are facing, it’s essential that they are provided the resources to move forward with their artistic visions,” said Josh Welsh, president of Film Independent. “The Emerging Filmmaker Awards provide vital support to these talented artists, enabling them to continue to develop new work and thrive as singular artists.”
The Spirit Awards, hosted by Saturday Night Live alum Aidy Bryant, will be streamed live on the IMDb and Film Independent YouTube channels, as well as across other social platforms. The show is supported by principal sponsor IMDbPro and official sponsors Bulleit Frontier Whiskey, Fiji Water, Miraval and Stella Artois.
Other attendees at Saturday’s seaside brunch included Todd Haynes, Jeffrey Wright, Erika Alexander, Cord Jefferson, Trace Lysette, Troy Kotsur, Zoe Lister-Jones, Dominique Fishback, James Marsden, Glenn and Jill Howerton, Dominic Sessa, Franz Rogowski, Da’Vine Joy Randolph, Pam Koffler, Celine Song and others.
Killers of the Flower Moon star Lily Gladstone has opened up about how using she/they pronouns is connected to the performer’s Indigenous background and “partly a way of decolonizing gender.”
In a new interview with People, Gladstone — who was raised on the Blackfeet Nation reservation in Montana by a father of Blackfeet and Nimiipuu heritage and a white mother — says that “in most Native languages, most Indigenous languages, Blackfeet included, there are no gendered pronouns. There is no he/she, there’s only they.”
And within the Blackfeet community specifically, Gladstone says, “we don’t have gendered pronouns, but our gender is implied in our name.”
“Even that’s not binary,” Gladstone adds, explaining how a grandfather had a Blackfeet name that meant “Iron Woman.”
“He had a name that had a woman’s name in it,” Gladstone says. “I’d never met my grandfather. I wouldn’t say that he was nonbinary in gender, but he was given a woman’s name because he kind of carried himself, I guess, the way that women who have that name do.”
Gladstone adds, “And there were lots of women historically and still now who are given men’s names. They fulfill more of a man’s role in society as far as being provider, warrior, those sort of things.”
Speaking about personal pronoun preferences, Gladstone says, “my pronoun use is partly a way of decolonizing gender for myself.”
Beyond that, Gladstone says the she/they pronouns is a way of the performer “embracing that when I’m in a group of ladies, I know that I’m a little bit different. When I’m in a group of men, I don’t feel like a man. I don’t feel [masculine] at all. I feel probably more feminine when I’m around other men.”
“In ceremony, a lot of times where you sit in the circle is a gendered thing,” Gladstone says. “I happen to sit in circles that are very embracing of all of our people. And I’ve seen people change where they sit in the circle based upon how they’re feeling that day.
Gladstone also recalls realizing early on that “they” might be preferable to gendered pronouns.
“I remember being 9 years old and just being a little disheartened, seeing how often a lot of my boy cousins were misgendered because they wore their hair long,” Gladstone says. “It happens to a lot of kids, I think, especially Native boys leaving a community where long hair is celebrated [and then] just kind of getting teased for it. So I remember back then being like, everybody should just be they.”
Gladstone also speaks about gendered awards categories, which has received more attention in recent years as groups like the Gotham Awards, MTV Movie & TV Awards, the Los Angeles Film Critics Association and the Independent Spirit Awards, for which Gladstone is set to serve as honorary chair of the 2024 awards ceremony, have opted for gender-neutral categories.
“I think it’s really cool that we’re seeing ‘performer’ and we’re seeing everybody brought in together. I do feel that historically having gendered categories has helped from keeping women actors from a lot of erasure because I think historically people just tend to honor male performances more,” Gladstone says. “I know a lot of actresses who are very proud of the word ‘actress’ or are very proud of being an actress. I don’t know, maybe it’s just an overly semantic thing where I’m like, if there’s not a ‘director-ess,’ then there shouldn’t be actresses. There’s no ‘producer-ess,’ there’s no ‘cinematographer-ess.’ ”
Lily Gladstone stars as Mollie Burkhart in Martin Scorsese’s acclaimed film “Killers of the Flower Moon,” an Apple Original Film, which is distributed by Paramount Pictures, a division of CBS News’ parent company Paramount Global. She joins “CBS Mornings” to discuss the responsibility she felt making the movie as a Native American woman, working with Hollywood legends and the Oscar buzz surrounding her work.
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It’s only fitting that the word “Osage,” what the French decided to call the Native American tribe that’s actually named Wazhazhe, loosely translates to “calm water.” For, after enduring what was done to their tribe by the white men they “let” into the fold, the persistent stoicism of the Osage people is something that very few others would be able to uphold. Not in the wake of so much pain and suffering. Perhaps, though, part of the “calmness” that remained upon realizing the white men they “allowed” into their insular, oil-drenched world were nefarious as all get-out stemmed from a feeling of constantly waiting for the other shoe to drop. As one Osage elder phrases it, “When this money started coming, we should have known it came with something else.” Knowing, somewhere just beneath the surface, that to trust a white man was to make deal with the devil (#whitedevil). After all, it was no secret that 1) white men’s involvement with anything meant exploitation and 2) white men never took (/take) kindly to the wealth of other races, always trying to characterize it as “unfair” or “rigged” or just plain “false.”
This, too, is why Martin Scorsese deftly opts to incorporate newsreels of the Tulsa massacre that were being played in Oklahoma theaters in 1921. A scene of Killers of the Flower Moon’s, er, chief villain, “King” William Hale (Robert De Niro) shows him watching the footage with rapt interest rather than horror. For it seemed to not only give him permission to keep murdering the Osage as part of his elaborate plan to gain access to various tribe members’ oil rights, but also provided further “creative inspiration” for how he could commit those murders. Of course, like most “kingpins,” he wasn’t wont to do the dirty work himself. Instead, he left that to his various lackeys, including his own nephew, Ernest Burkhart (Leonardo DiCaprio). It was he who married Mollie Kyle (Lily Gladstone), one of the many wealthy Osage of Fairfax, where the reservation boundaries are coterminous with the town. While, in the movie, co-writers Scorsese and Eric Roth would have viewers believe that Burkhart really did marry Mollie out of love (at first), simple logic and reason tells us he knew damn well the core of that “love” was rooted in Mollie’s familial wealth. For the Osage were the rare tribe in the U.S. able to hold onto their mineral rights (through various conditions established in their treaties) once oil was discovered on their reservation territory.
Naturally, having unbridled control and access to their wealth would have been too good to be true. For, thanks to the Burke Act of 1906, Native Americans with any amount of sizable income (via a land allotment) were appointed white conservators to “help” them manage their finances. Of course, as we saw with Britney Spears, there isn’t much altruism in conservatorships when large sums of money are involved and the conservatee can be so easily exploited. Not only that, but consistently demeaned every time they had to meet with their conservator and say aloud, about themselves, “Incompetent” before proceeding to tell that conservator what amount of money they wanted and how they would be using it. Scenes of Mollie having to endure this utterly debasing practice is complete with her obsequiously agreeing to “keep a better eye out” for how her mother is spending, as though Lizzie (Tantoo Cardinal) doesn’t have every goddamn right to spend her oil money how she pleases.
For those wondering why so many Osage women would “let” the (rather dumb) white foxes into their utopian henhouse, so to speak, one must consider that, as an indigenous person, even having money didn’t assert one’s power in the “white world” (that is to say, a world where white hegemony had asserted itself for centuries). The “best” way to do that, some women figured, was to marry white and let the power of having Caucasian male authority at one’s side work its “charms.” Charmless though it might have been. Mollie even jokes with Ernest that she’s well-aware he’s a coyote, after her money. And, appropriately, the movie opens with the Osage elders lamenting the next generation’s seemingly blithe “conversion” to whiteness. Having lost all sense of their heritage with this mixing of their blood with a race so prone to subjugation and erasing all other cultures to fit in with the mold of their own. Among the most memorable scenes to emphasize this “conversion” of the new generation—the one that has benefited from their headrights inheritances—occurs after seeing the elders lament the loss of their culture. Viewers are then presented with the sight of the younger generation gleefully and greedily dancing in shirtless slow motion as oil gushes from the ground, covering them in more symbolic wealth. This shift in ideals from those of pure, nature-oriented and -respecting ones to cold, hollow capitalistic ones demarcates the notion that Native Americans were finally being “modernized,” brought into the twentieth century, as it were. As though that was the “right” and “generous” thing for white men to “facilitate” (read: foist).
At the same time, white men never really wanted Native Americans (or any people of color) to get “too modern.” In other words, they still wanted them to remain powerless and dependent, subject to the unjust systems set up to benefit whites and punish or subdue anybody else. Not just that, but to debase or belittle any success they did manage to carve out for themselves. Hence, the constant running commentary among white men in Killers of the Flower Moon about how “these Indians” didn’t “work” for the money they have. That it was just luck and happenstance that bestowed them with such bounty. As though to say that the white men’s “work” of plundering the riches of others is far “nobler.”
And oh, how Osage wealth is plundered, as we see repeatedly throughout Killers of the Flower Moon. In fact, perhaps what’s most standout about the way the murders are committed is how they’re presented by Scorsese, interspersed throughout as “non sequitur” scenes designed to reveal just how callously and casually they’re done. With no feeling, no second thoughts whatsoever.
The film’s title plays into a metaphor for white oppression, with the book (written by David Grann) the movie is based on describing the phenomenon in nature it refers to as: “In April, millions of tiny flowers spread over the blackjack hills and vast prairies in the Osage territory of Oklahoma… In May, when coyotes howl beneath an unnervingly large moon, taller plants, such as spiderworts and black-eyed Susans, begin to creep over the tinier blooms… The necks of the smaller flowers break and their petals flutter away, and before long they are buried underground. This is why the Osage… refer to May as the time of the flower-killing moon.” Obviously, the white man is represented by the larger blooms overtaking and suppressing the tiny ones, until they’re stamped out completely.
This is conveyed even in how the story of Mollie and the Osages who were killed ends up being overshadowed by white use of those stories for “entertainment” (as paraded in the final scene when the “tale” is being presented as a true crime radio show…how relevant to the present). Roth, a tour de force in screenplay adaptations (see also: Forrest Gump, The Curious Case of Benjamin Button and Dune), assists in revealing the ouroboros of exploitation that goes on vis-à-vis the handling of the stories of the marginalized, with the audience watching Killers of the Flower Moon in the theater contributing to that endless cycle.
Scorsese, no stranger to showing his attraction for stories of indigenous exploitation, also harkens us back to his 1986 film, The Mission, with this latest behemoth. The Mission was described by James Shofield Saeger, a scholar of Spanish missions in the New World, as a “white European distortion of Native American reality.” There’s no doubt that, despite Scorsese’s assurance of consulting with the Osage tribe’s current chief, Standing Bear, throughout the making of the film, many will still take issue with a white man retelling this painful part of Osage history. Indeed, as is the case with the barrage of movies that come out about Black slavery, some Native Americans weren’t happy with the idea that, yet again, their only representation in cinema is that of their historical pain with Killers of the Flower Moon.
For example, Reservation Dogs’ Devery Jacobs had plenty of criticism to lob at the film, stating, “Being Native, watching this movie was fucking hellfire… I can’t believe it needs to be said, but Indig ppl exist beyond our grief, trauma & atrocities. Our pride for being Native, our languages, cultures, joy & love are way more interesting & humanizing than showing the horrors white men inflicted on us… All the incredible Indigenous actors were the only redeeming factors of this film. Give Lily [Gladstone] her goddamn Oscar. But while all of the performances were strong, if you look proportionally, each of the Osage characters felt painfully underwritten, while the white men were given way more courtesy and depth.”
But what does one expect when you “let” a fox in the henhouse? A.k.a. submit to the constantly brushed-aside reality that, for BIPOC stories to be told at all, they must still somehow land in the hands of white people. Ergo, that ouroboros of exploitation constantly feeding on itself.