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Tag: oscars

  • Mark Wahlberg Reflects on Filming ‘The Departed’: “I Was a Little Pissed About a Couple Things”

    Mark Wahlberg Reflects on Filming ‘The Departed’: “I Was a Little Pissed About a Couple Things”

    Mark Wahlberg has admitted he wasn’t entirely happy while filming Martin Scorsese‘s 2006 film The Departed.

    Wahlberg played Sergeant Dignam, who worked in the Special Investigation Unit of the Massachusetts State Police Department, in the Boston-set film, which also starred Leonardo DiCaprio, Jack Nicholson, Matt Damon, Martin Sheen, Alec Baldwin and Vera Farmiga, among others.

    “I was a little pissed about a couple things but look, it all worked out in the end, I think,” Wahlberg said on the March 14 episode of Josh Horowitz’s Happy Sad Confused podcast.

    “Originally I was supposed to play another part. Originally, I was supposed to get paid,” he said, without elaborating. “And then even when we kind of agreed that I would play Dignam and I saw the advantages of playing that part and how I would approach the situation with everybody else playing opposite me, I then had another movie after.”

    He said he had just finished filming Four Brothers and was about to start shooting Invincible

    “I was trying to grow my hair out, which is why I had that weird hair. You know, everybody’s like, what was that wig about? I was like, it was not a wig, I was just trying to grow my hair for the next film.”

    Wahlberg has been open about his clashes with Scorsese before and now says he understands his director’s point of view.

    “I completely understand where Marty was coming from. He had to deal with Jack, he had to deal with Matt and Leo and Alec and everything in the studio and everybody else who was in the cast and then I was supposed to be in and out in five weeks,” he said. “And so I went off to go and shoot Invincible, got my hair extensions, came back and then they were like, oh you gotta take out the extensions. I was like, [this] shit took eight hours. I’m not gonna take this out. We had a couple of issues.”

    Wahlberg ended up earning his first and only (so far) Oscar nom for the role (he lost to Little Miss Sunshine’s Alan Arkin, though the film won four Oscars, including best picture and best director). At the time, he came to realize he could “have some fun” with the character. Wahlberg — who grew up in Boston — previously said he had conversations with Scorsese about improvising.

    “Ultimately, I think when I read that particular role, I was like, OK, this is, this is a good role,” he said. ” This is an opportunity for me to really kind of go off and have some fun for me. Originally, I was just thinking, ok, we gotta make this as realistic and credible as possible. It’s Boston, it’s gangster shit. You don’t see too many of that, those movies. And I was thinking kind of broad big picture, not necessarily my own individual goals or even the opportunity for me as an actor. And then when I read the part again, I was like, OK, there’s, there’s something here.”

    Asked if Oscar nominations and other accolades matter, Wahlberg says it’s nice when it happens, but not something he’s focused on.

    “Look, you want the movie to be recognized, you want to be recognized — it helps the ultimate success of the film,” he said. ” I think it enhances the box office quite a bit, especially if you have a movie coming out at that time of year, but it’s not as high on the priority list as it used to be, let’s just say that.”

    So, would he rather “movie make a billion dollars or win an Academy Award,” as Horowitz put it.

    “If I have a nice back end, I would rather [have the money],” Wahlberg said. “But that being said, look, I mean, you know, I’m competitive guy. I work really hard and I try to make the best movies possible. I always want to be the best. I approach it as very much as an athlete, as a fighter, all those things. So I only wanna win.”

    Horowitz also asked Wahlberg to set the record straight about turning down Steven Soderbergh’s 2001 hit heist comedy Ocean’s Eleven. Wahlberg said he’d already committed to starring in Planet of the Apes for Tim Burton and in The Truth About Charlie for Jonathan Demme and therefor was unable to do Ocean’s.

    “I was asked to do the movie and what happened was we asked if they would wait for me, but I had already committed to working with Tim Burton and Jonathan Demme,” he explained. “And for me, it was even though those movies did not turn out to be good, those experiences were great. And you know what, at that point, I was still really trying to grow as an actor.” 

    He said some parts of the two films did not excite him at the time, but he still had a great experience working on both.

    “I was thrilled about the opportunity to work with Tim, [but I] wasn’t thrilled about the idea of doing that remake, but it was worth going to take that risk to work with Tim Burton,” he said of 2001’s Apes. “Same thing with Jonathan Demme when I read the script, I’m thinking, oh my God, is this Philadelphia? is this Silence of the Lambs? No, it was a kind of loose remake of Charade. So, no, I was not like thrilled when I was in the beret and the scarf, the baguette, but had one of the great times in my career, my life, off set. I had a great time working on that movie. I really learned a lot, worked with some hugely talented people.”

    Kimberly Nordyke

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  • Travis Kelce Holds Writer Cord Jefferson’s Oscar in Afterparty Pic

    Travis Kelce Holds Writer Cord Jefferson’s Oscar in Afterparty Pic


    Travis Kelce
    Alberto E. Rodriguez/Getty Images

    Travis Kelce truly had the best night at the Oscars.

    Cord [Jefferson] said he was gonna write a movie during covid then all this happened,” producer Tommy Alter wrote via Instagram on Thursday, March 14.

    Alter shared a slew of new photos from the 96th Academy Awards, including a snap of American Fiction writer and director Jefferson, 42, and Kelce, 34, together at an afterparty. The Kansas City Chiefs tight end looked dapper in a black suit with a silver choker and bracelet as he held up Jefferson’s own hardware: an Oscar statue.

    Jefferson took home the Academy Award for Best Adapted Screenplay at the Sunday, March 10, ceremony.

    “I felt so much joy making this movie, and I want other people to experience that joy,” Jefferson noted in his victory speech. “The next Martin Scorsese is out there. The next Greta is out there — both Gretas [Lee and Gerwig]. They just want a shot, and we can give them one. Thank you to everyone who worked on this movie for trusting a 40-year-old Black guy who had never directed before.”

    While Alter and Jefferson attended the Oscars at Los Angeles’ Dolby Theatre, Kelce was not present at the ceremony. He was, however, reportedly at Madonna’s ultra-exclusive afterparty with his girlfriend, Taylor Swift. British Vogue reported that the couple stopped by the Gucci-sponsored event that notoriously has a photography ban.

    Kelce and Swift, also 34, have been dating since summer 2023 after a missed connection at her Eras Tour stop in Kansas City that July. They took their romance public in September 2023 when she went to her first Chiefs football game.

    Travis Kelce and Taylor Swift

    Related: Taylor Swift and Travis Kelce’s Relationship Timeline

    Taylor Swift and Travis Kelce are all anyone can talk about. Swift and Kelce were first linked in July 2023 when the Kansas City Chiefs tight end shared he attempted to ask Swift out after attending her Eras Tour. “I was a little butthurt I didn’t get to hand her one of the bracelets I […]

    “When you say a relationship is public, that means I’m going to see him do what he loves, we’re showing up for each other, other people are there and we don’t care,” Swift told TIME in a December 2023 profile. “The opposite of that is you have to go to an extreme amount of effort to make sure no one knows that you’re seeing someone. And we’re just proud of each other.”

    Swift later attended 12 more of Kelce’s games, including Super Bowl LVIII in February. After watching the Chiefs win their second consecutive Lombardi Trophy, Kelce returned the favor to support her on the international leg of the Eras Tour.

    Swift wrapped the Australian and Asian legs earlier this month, and now the pair are in their “nesting” era at her L.A. residence.

    “They’re focused on rest and recuperation and relaxing at home and having low-key and chill time together,” a source exclusively told Us Weekly earlier this week. “They are enjoying movie nights in her home theater, catching up on films and shows they’ve missed.”

    Miranda Siwak

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  • Who Would Have Made the Most NIL Money? Plus, Jimmy Kimmel Joins.

    Who Would Have Made the Most NIL Money? Plus, Jimmy Kimmel Joins.

    Cousin Sal is joined by Jimmy Kimmel to discuss hosting the Oscars, the Jake Paul–Mike Tyson fight, and the glory years of UNLV basketball before being joined by the D3 to debate which former NCAA basketball player would’ve made the most NIL money.

    Host: Cousin Sal
    Guests: Darren Szokoli, Brian Szokoli, Harry Gagnon, and Jimmy Kimmel
    Producers: Michael Szokoli, Joel Solomon, Jack Wilson, and Chris Wohlers

    Subscribe: Spotify / Apple Podcasts / Stitcher / RSS

    Cousin Sal Iacono

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  • Megyn Kelly Torches ‘Classless’ Jimmy Kimmel For Terrible Oscars Hosting Performance

    Megyn Kelly Torches ‘Classless’ Jimmy Kimmel For Terrible Oscars Hosting Performance

    Source YouTube: Megyn Kelly, Jimmy Kimmel Live!

    The former Fox News host Megyn Kelly is speaking out to slam the “classless” Jimmy Kimmel for the way he hosted the Oscars on Sunday night after he used the show to shamelessly bash Donald Trump. Kelly fired back by torching Kimmel and bringing up his documented history of blackface.

    Kelly Eviscerates Kimmel

    Though Kimmel initially avoided politics while hosting the Oscars, he took a shot at Trump at the end of the show after the former president bashed his hosting style on social media.

    “Thank you, President Trump,” Kimmel said, according to CBS News. “Thank you for watching. I’m surprised you’re still up. Isn’t it past jail time?” 

    This didn’t sit well with Kelly, who fired back at Kimmel on her eponymous SiriusXM talk show.

    “He found time to take a shot at Trump, he found time to take a shot at Katie Britt, he did not find any time to make fun of Joe Biden who is the sitting president of the United—I just guess there’s no fodder there, nothing to joke about,” Kelly said.

    Kelly’s guest Andrew Klavan, a conservative political commentator, responded by saying that Kimmel “just following what the news media is doing.” He added that he was surprised that Kimmel never mentioned President Joe Biden, who had just given “the worst State of the Union address in my lifetime,” which he called “ugly and divisive.”

    Related: Trump Rejoices After ‘Loser’ Jimmy Kimmel Suggests He May Be Retiring From Late Night

    Kelly Brings Up Kimmel’s Blackface History

    Earlier in the show, Kelly criticized the Oscars audience, “who laughed and curried favor with the man who wore blackface so many times, he’s second only to Justin Trudeau in his fondness for the practice.”

    Kelly went on to say that the Hollywood stars “absolutely ate up the performance by Hollywood darling Mr. Kimmel” even though “some of the very same celebrities who wanted you to believe they were horrified — horrified — after yours truly said in 2018 that people used to don dark makeup to imitate well-known black celebrities and it wasn’t a big deal.”

    The New York Post reported that this was a reference to Kimmel wearing blackface to portray the black Utah Jazz star Karl Malone in a skit on “The Man Show” back in the 1990s. He also wore dark makeup to portray Oprah Winfrey in another skit. In contrast, Kelly was fired by NBC in 2018 after she simply weighed in on those wearing blackface, saying that “in the 70s/80s, it used to be viewed differently.”

    “Obviously Kimmel’s love of blackface was not a deal-breaker for ABC — which already employs him as a late-night host and which, in addition to its many blackface awards shows, also produced and promoted many shows and stars in blackface,” Kelly lamented.

    “It appears the real sin with blackface, you see, is talking about how standards on it have changed, not actually wearing it,” she continued. “You can still win Oscars and host the Oscars after doing that.”

    Check out her full comments on this in the video below.

    Related: Blackface Comedian Jimmy Kimmel Mocks Fox For Anti-Woke Segments: ‘Make Your Own Homophobic Potato Dudes’

    Kelly Rips Kimmel For Robert Downey Jr. Joke

    Kelly also ripped into Kimmel for a joke he made at the expense of Robert Downey Jr., who won the Best Supporting Actor Oscar on Sunday night for his work in Oppenheimer.

    “This is the highest point of Robert Downey Jr’s career… well, one of the highest points,” Kimmel said during the opening monologue. When Downey Jr. responded by tapping his nose in a sign of recognition, Kimmel asked: “Was that too on the nose or a drug motion you made?”

    A visibly annoyed Downey Jr. reacted to this by signaling Kimmel to move on from the joke.

    “What Kimmel did last night, was he tried to mock people’s weaknesses and things they had genuinely fought hard to overcome, like he did to Robert Downey Jr, who wound up being a favorite of the night,” Kelly said.

    “But before he won Best Supporting Actor for Oppenheimer, Kimmel, in his opening monologue, decided to take a shot at—everyone knows about Robert Downey Jr’s long history with drugs and alcohol,” she continued. “It’s something no one celebrates but he needs to be given credit for overcoming.”

    After Kelly played a clip of the exchange, she added, “What was that? That was just classless.”

    Kelly concluded by comparing the way Kimmel hosted the Oscars to the way the British comedian Ricky Gervais hosted the Golden Globes on five separate occasions in 2010, 2011, 2012, 2016 and 2020, according to Newsweek.

    “Last night, one of the things I think stood out about Kimmel’s hosting was, he didn’t get it. The reason Ricky Gervais did so well when he hosted those Golden Globes and just eviscerated everyone in that room is because he was making fun of them on things that we knew were true,” Kelly explained.

    “Y’know kind of, their abuse of their own power, their self-importance and that kind of thing and he was punching up, which is okay,” she stated.

    Check out Kelly’s full comments on this in the video below.

    The hypocrisy of Kimmel and the rest of Hollywood never ceases to amaze, and good for Kelly for calling them all out. No wonder the Oscars has been struggling to get anyone to watch for years!

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    James Conrad

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  • The 2024 Oscars Mailbag and a Way-Too-Early Look at 2025 Best Picture

    The 2024 Oscars Mailbag and a Way-Too-Early Look at 2025 Best Picture

    Sean and Amanda are joined by Joanna Robinson to briefly discuss Dune: Part Two and other way-too-early contenders for the 2025 Oscars (1:00). Then, they open the mailbag to answer your questions about Oppenheimer, Emma Stone, Lily Gladstone, Rango, Bradley Cooper, The Holdovers, and more (37:00).

    Hosts: Sean Fennessey and Amanda Dobbins
    Guest: Joanna Robinson
    Senior Producer: Bobby Wagner

    Subscribe: Spotify / Apple Podcasts / Stitcher / RSS

    Sean Fennessey

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  • How Lindsay Lohan Prepared to Make a Glamorous Return to the Vanity Fair Oscar Party

    How Lindsay Lohan Prepared to Make a Glamorous Return to the Vanity Fair Oscar Party

    At this point in her life, Lindsay Lohan has tried-and-true rituals for getting ready for a big night out. Lohan opts for what she calls a “pretty simple” routine, starting with “nice eye patches, maybe a face mask,” before starting hair and makeup. But first it’s all about tending to bath time and bedtime for her eight-month-old son, Luai, with her husband, Bader Shammas. A veteran of the red carpet, Lohan is no stranger to preparing for an event like the Vanity Fair Oscar Party, but before she’s out the door, there’s one more crucial step. “Before I leave, I want to see my son and give him a kiss,” Lohan told Vanity Fair the morning after attending the 30th anniversary of the renowned event. 

    During a time when every moment matters, Lohan and Shammas treated the Vanity Fair Oscar Party like date night. It had been more than 10 years since Lohan, who was “just excited to go and get dressed up and look fab,” had attended the bash. And for the new mom, who next stars in Irish Wish, out later this month, it was a time to catch up with old friends and make new acquaintances. “I bumped into a lot of people that I haven’t seen in a long time. Billie Eilish was one of the sweetest people and Sydney Sweeney—I met both of them. And it’s just nice to see everyone. Everyone was just there having a nice time and I think it’s so beautiful to see,” she said.

    Lohan catching up with Kim Kardashian inside the Vanity Fair Oscars Party.

    Photograph by Krista Schlueter

    Having previously attended the Vanity Fair Oscar Party, Lohan knew that the night required a daring, ultraglamorous ensemble, and turned to Balenciaga for a custom embroidered bustier dress in silver sequin fringe embroidery. An iteration of the brand’s resort 2024 collection final look, the dress was originally shown with long sleeves and a high neck. But for Lohan’s tailor-made look, the frock was made in a strapless version, allowing the actor to channel Old Hollywood glamor. “The dress was so beautiful, and it reminded me of 1920s casual. We wanted to go for effortless chic, effortless glam,” Lohan said.

    Image may contain Lindsay Lohan Fashion Clothing Dress Adult Person Premiere Evening Dress and Formal Wear

    Jamie McCarthy

    Initially torn between two options for the night, the other being more form-fitting, Lohan saw the sequined gown and knew it was the one. “It just made more sense, and the weight of it felt really special. You know whenever you put something on that feels heavy, it just feels more glamorous. And that’s kind of the vibe I wanted to go with,” said Lohan. And glamor was just what she exuded with the glittering gown alongside her signature auburn tresses and dark brown eye makeup, topped with a peachy lip. 

    With the whimsical night out spent mingling with the biggest names in Hollywood behind her, the new mother reflected on finding her equilibrium between being in front of the camera and life with her family in Dubai, where she prefers being at home and hosting friends and family.

    “I think life is all about balance. So no matter where you are, you will find that, if that’s what you crave. I think it’s important to have both worlds to be in—you always need a place you can go back to and settle. So even though we spend a lot of our time in New York as well, home is always where the heart is, no matter where you are,” she said.


    The Best Moments From the 2024 Vanity Fair Oscar Party

    Kia D. Goosby

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  • William H. Macy visits DC’s Warner Theatre for special screening of movie masterpiece ‘Fargo’ – WTOP News

    William H. Macy visits DC’s Warner Theatre for special screening of movie masterpiece ‘Fargo’ – WTOP News

    “It’s just a lovely, lovely script.” WTOP’s Jason Fraley speaks with William H. Macy ahead of the actor hosting a screening of the 1996 film on Thursday.

    WTOP’s Jason Fraley previews ‘Fargo’ with William H. Macy at Warner Theatre (Part 1)

    He earned acclaim in films (“Boogie Nights”) and TV series (“Shameless”), but his career role remains his Oscar-nominated performance in the movie masterpiece “Fargo” (1996).

    This Thursday, William H. Macy visits Warner Theatre in D.C. to host a screening of a film that combines the comedy of “The Big Lebowski” (1998) with the drama of “No Country for Old Men” (2007) for a genre bender that remains the Coen Brothers’ best.

    “We’re taking questions from the audience,” Macy told WTOP.

    “I saw the film on a big screen for the first time with good sound, maybe for the first time since we made the thing, and it is a magnificent film. I was knocked out. I was really proud to be in it. Everybody is stunning in the thing. Franny (actress Frances McDormand) just broke my heart yet again and, boy, everything from (cinematographer) Roger Deakins’ shooting to the Coen Brothers, it’s just a brilliant film.”

    The story follows Jerry Lundegaard, a bankrupt used-car salesperson in Minneapolis who seeks an investment from his rich father-in-law. When he’s refused, Jerry hires two criminals in Fargo, North Dakota, to kidnap his wife for ransom money, but the plan backfires and the bodies pile up as do clues for pregnant detective Marge Gunderson.

    “Everything they do is intentional,” Macy said.

    “Joel does most of the directing, but Ethan directs too, then Ethan does most of the writing, but Joel writes too. I think that’s the way they work. It’s really tandem. … They’re funny guys, good Lord they are. I think one of the things that’s so brilliant about the film is that it’s really horrifying and funny at the same time. They treated the violence in such a banal manner that it’s even more horrifying.”

    You won’t find a better slimeball antagonist than Macy’s Jerry, fudging the numbers with a worn pencil and throwing temper tantrums with his ice scraper. His weasel chops are best on display during a concerned phone call off screen, only to realize that he’s just practicing his act, shifting back to a normal tone to speak to the operator.

    “[The operator bit] was a little improv, I suggested it because I knew the camera was gonna come around the corner and catch me,” Macy said.

    “[The pencil bit] I was sitting at the desk waiting for them to set up the shot and I was doodling on the pad, Ethan came over and looked at it and said, ‘Hey, let’s shoot this,’ so they got an insert of the pad. [The ice scraper bit] was scripted that way, some version of: ‘He loses his [crap] in the parking lot.’”

    His naiveté stirs a deadly cocktail with his criminal hires, Steve Buscemi’s motor-mouthed Carl Showalter (“I’m not here to debate, Jerry”) and Peter Stormare’s ice-cold Gaear Grimsrud (“Stop at Pancakes House”). The duo dances on the knife’s edge of murder and buddy comedy, as Buscemi promises “total silence” by relentlessly talking.

    “They’re a great couple — it’s really well drawn,” Macy said. “When the wife gets free from the two kidnappers and starts to run, Steve Buscemi says, ‘No, no,’ and they stand there and watch and laugh as she tries to escape. It’s so horrifying. It’s so cruel. … Peter Stormare is a serious actor, he was Ingmar Bergman’s Hamlet, he’s a serious actor.”

    Still, the best performance arguably belongs to Frances McDormand in her first of three Oscar wins before “Three Billboards Outside Ebbing, Missouri” (2017) and “Nomadland” (2020). Voted the American Film Institute’s No. 33 Greatest Movie Hero of All Time, Marge surprisingly doesn’t even show up until a full 30 minutes into the film.

    Not only does McDormand master the Midwest accent for zingers (“I think I’m gonna barf!”), she outsmarts her male colleagues (“I’m not sure I agree 100% with your police work, Lou”) and brings home the bacon to her heart-of-gold husband Norm (John Carroll Lynch).

    This gender reversal was way ahead of its time, flipping the script to show Marge receiving work calls in the middle of the night and Norm waking up to make her breakfast.

    “She really was [pioneering], but it’s not as if they were making something up out of whole cloth,” Macy said. “That’s the reality of most working families and that’s what they wrote and that’s what’s great about it,” Macy said.

    Their relationship is the thematic core of the movie, summarized by Marge in the police car finale: “There’s more to life than a little money.” The answer to that question comes in the final scene where Marge and Norm sit in bed awaiting the birth of their child. A soft lullaby plays as Marge delivers the film’s final line: “Two more months.”

    It’s the perfect punctuation on a masterfully directed film by Joel and Ethan Coen, the former of whom became the first filmmaker to direct his wife (McDormand) to an Academy Award.

    Few filmmakers have ever crafted such a signature atmosphere, capturing the quirky accents of the Upper Midwest and the isolation of frigid landscapes with red blood painted on white snow, all backed by the epic drums and tragic violins of Carter Burwell’s score.

    “It happens in Minnesota every once in a while, you get a brown January,” Macy said.

    “We got up there and there wasn’t any snow, so they immediately started renting all of the snow-making. … The lads had to keep driving farther north to find snow and they finally did … but normally that time of year the snow would be waste high. … Deakins’ initial thing of the Oldsmobile coming up over that hill in that white out, ahh, it’s just stunning!”

    The setting includes statues of Paul Bunyan, whose ax foreshadows a murder. The Coens brilliantly use transitions (cutting from Buscemi’s TV to Marge’s TV), visual storytelling (taillights disappearing during a car chase), black comedy (home invasion), and mise-en-scène (high angle of a parking lot as Jerry finds himself at a crossroads).

    Note how they film Jerry at work, shooting through vertical blinds of his office window like jail bars closing in on him.

    “There are no accidents,” Macy said.

    “The purpose of technique is to bring out your subconscious. Did they choose that shot because it looked like jail bars? One could say, ‘Yes, they chose that shot.’ Did they say to themselves, ‘Hey, it looks like jail bars,’ I don’t know, but that’s what art is. These iconic images come out and I think sometimes the artist had no idea what it was doing. John Lennon said ‘Lucy in the Sky with Diamonds’ is not about LSD.”

    Macy was nominated for Best Supporting Actor but lost to Cuba Gooding Jr. in “Jerry Maguire,” while “Fargo” lost Best Picture to “The English Patient.” I told him that I thought the latter was ridiculous as “Fargo” is superior.

    “I will back you on that,” Macy said.

    “If you’re in one of the top categories and you get a nomination, that’s real, you can take it to the bank that you did a good thing. As to who wins, that’s a little capricious, but I’ll tell ya, it was not a good year to get an Oscar nomination because there were a bunch of great films out that year! ‘Sling Blade’ was out that year, ‘Jerry Maguire,’ I mean the list goes on and on, it was a great year for films.”

    Today, the legacy continues in the acclaimed FX series “Fargo,” which just wrapped Season 5.

    “I think it’s great,” Macy said. “I watched the whole first season. That was Billy Bob [Thornton] right? I thought, man, he should have paid them; he was having so much fun. I thought that was a fabulous season, then I’ve seen bits and pieces of all the other season. They’re ripe characters, it’s a ripe part of the country, it was a great series.”

    Still, as great as the TV series is, there’s no topping the original Coen Brothers flick.

    “It’s just a lovely, lovely script,” Macy said. “It’s so simple and, as you say, profound at the same time — and it tells a walloping good story, one of the best stories that the brothers have ever told, I think.”

    WTOP’s Jason Fraley previews ‘Fargo’ with William H. Macy at Warner Theatre (Part 2)

    Listen to our full conversation on the podcast below:

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    © 2024 WTOP. All Rights Reserved. This website is not intended for users located within the European Economic Area.

    Jason Fraley

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  • Here’s why Al Pacino did not read the nominees while presenting Best Picture award for ‘Oppenheimer’

    Here’s why Al Pacino did not read the nominees while presenting Best Picture award for ‘Oppenheimer’

    LOS ANGELES — All eyes were on “Oppenheimer,” directed by Christopher Nolan and starring Cillian Murphy, Robert Downey Jr. and Emily Blunt, at the Oscars on Sunday. The film dominated throughout awards season.

    Now, it’s been named Best Picture at the 2024 Academy Awards.

    The top prize of the night was presented by “The Godfather” star Al Pacino – who seemingly jumped the gun by announcing the winner before listing the nominees. But Pacino and his team say that was the plan all along.

    Al Pacino presents the award for best picture during the Oscars on Sunday, March 10, 2024, at the Dolby Theatre in Los Angeles.

    AP Photo/Chris Pizzello

    “There seems to be some controversy about my not mentioning every film by name last night before announcing the best picture award,” Pacino said in a statement. “I just want to be clear it was not my intention to omit them, rather a choice by the producers not to have them said again since they were highlighted individually throughout the ceremony.”

    SEE ALSO: ‘Oppenheimer’ wins 7 Oscars, including Best Picture; Christopher Nolan, Cillian Murphy get statues

    Rather than listing all 10 nominees while presenting the best picture Oscar, or offering an “And the Oscar goes to,” Pacino said “Here it comes” before slowly opening the envelope.

    “And my eyes see ‘Oppenheimer,’” Pacino said, before the camera quickly panned to the winners in the audience.

    Cillian Murphy won his first-ever Oscar, taking home the trophy for Best Actor for his performance in “Oppenheimer.”

    People were, of course, quick to take to social media to comment about the bizarre announcement. The ceremony had presenters honor each nominee before unveiling the winner throughout the evening, so it was natural for viewers to wonder why Pacino chose not to.

    “I realize being nominated is a huge milestone in one’s life and to not be fully recognized is offensive and hurtful,” Pacino said. “I say this as someone who profoundly relates with filmmakers, actors and producers so I deeply empathize with those who have been slighted by this oversight and it’s why I felt it necessary to make this statement.”

    “Oppenheimer” won seven Oscars Sunday night, including Best Picture, Best Director, Best Actor and Best Supporting Actor. It also won for Best Film Editing and Best Cinematography. Ludwig Göransson also took home the Oscar for Best Original Score.

    It was the first Oscar win for Murphy, Downey and Nolan.

    The film earned a leading 13 nominations and has earned nearly $1 billion worldwide.

    Copyright © 2024 OnTheRedCarpet.com. All Rights Reserved.

    OTRC

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  • Here’s why Al Pacino did not read the nominees while presenting Best Picture award for ‘Oppenheimer’

    Here’s why Al Pacino did not read the nominees while presenting Best Picture award for ‘Oppenheimer’

    LOS ANGELES — All eyes were on “Oppenheimer,” directed by Christopher Nolan and starring Cillian Murphy, Robert Downey Jr. and Emily Blunt, at the Oscars on Sunday. The film dominated throughout awards season.

    Now, it’s been named Best Picture at the 2024 Academy Awards.

    The top prize of the night was presented by “The Godfather” star Al Pacino – who seemingly jumped the gun by announcing the winner before listing the nominees. But Pacino and his team say that was the plan all along.

    Al Pacino presents the award for best picture during the Oscars on Sunday, March 10, 2024, at the Dolby Theatre in Los Angeles.

    AP Photo/Chris Pizzello

    “There seems to be some controversy about my not mentioning every film by name last night before announcing the best picture award,” Pacino said in a statement. “I just want to be clear it was not my intention to omit them, rather a choice by the producers not to have them said again since they were highlighted individually throughout the ceremony.”

    SEE ALSO: ‘Oppenheimer’ wins 7 Oscars, including Best Picture; Christopher Nolan, Cillian Murphy get statues

    Rather than listing all 10 nominees while presenting the best picture Oscar, or offering an “And the Oscar goes to,” Pacino said “Here it comes” before slowly opening the envelope.

    “And my eyes see ‘Oppenheimer,’” Pacino said, before the camera quickly panned to the winners in the audience.

    Cillian Murphy won his first-ever Oscar, taking home the trophy for Best Actor for his performance in “Oppenheimer.”

    People were, of course, quick to take to social media to comment about the bizarre announcement. The ceremony had presenters honor each nominee before unveiling the winner throughout the evening, so it was natural for viewers to wonder why Pacino chose not to.

    “I realize being nominated is a huge milestone in one’s life and to not be fully recognized is offensive and hurtful,” Pacino said. “I say this as someone who profoundly relates with filmmakers, actors and producers so I deeply empathize with those who have been slighted by this oversight and it’s why I felt it necessary to make this statement.”

    “Oppenheimer” won seven Oscars Sunday night, including Best Picture, Best Director, Best Actor and Best Supporting Actor. It also won for Best Film Editing and Best Cinematography. Ludwig Göransson also took home the Oscar for Best Original Score.

    It was the first Oscar win for Murphy, Downey and Nolan.

    The film earned a leading 13 nominations and has earned nearly $1 billion worldwide.

    Copyright © 2024 OnTheRedCarpet.com. All Rights Reserved.

    OTRC

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  • Here Are The Best Dressed Women From The 2024 Oscars

    Here Are The Best Dressed Women From The 2024 Oscars

    Lupita Nyong’o’s feather-covered peplum is S-T-U-N-N-I-N-G.


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  • Emma Stone Wore 21 Charlotte Tilbury Products to The Oscars & They’re All 20% Off

    Emma Stone Wore 21 Charlotte Tilbury Products to The Oscars & They’re All 20% Off

    All products and services featured are independently chosen by editors. However, StyleCaster may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.

    ICYMI, Emma Stone won the 2024 Oscar for Best Actress wearing a full face of Charlotte Tilbury. Her fresh, dewy beat was an all-hands-on-deck effort by her makeup artist, Rachel Goodwin, and 20 fabulous makeup and skincare products from the ongoing Charlotte Tilbury Oscars Sale.

    I’m about to do you a solid and link every single product that graced the Oscar winner’s face, but first, super important sale details. Take 20 percent off of orders worth $60 or more from March 9 through March 14 at 4:59 a.m. EST. Just be sure to enter code REDCARPET at checkout to secure this discount, and note this code doesn’t work with already marked down products and can’t be stacked with other codes.

    Best Charlotte Tilbury Oscars Sale Deals at a Glance:

    But back to the Poor Things star’s makeup look. Goodwin used everything from Charlotte Tilbury body products to the iconic blush wand to fan-fave lippies. She also applied an unreleased must-have, the Pillow Talk Big Lip Plumpgasm, which launches on April 4. The actress is completely decked out in CT, and boy, does she look gorgeous (and so ready for spring!). 

    Below, find all 20 products Stone stunned in on the Oscars red carpet, including each one’s discounted price during the Oscars sale.

    Charlotte Tilbury Complexion

    Charlotte Tilbury Magic Water Cream
    Charlotte Tilbury.
    Charlotte Tilbury Magic Serum Crystal Elixir
    Charlotte Tilbury.
    Charlotte Tilbury Magic Hydrator Mist
    Charlotte Tilbury.

    Charlotte Tilbury Skin

    Charlotte Tilbury Hollywood Flawless Filter Sephora
    Charlotte Tilbury.
    Charlotte Tilbury Beautiful Skin Radiant Concealer
    Charlotte Tilbury.
    Charlotte Tilbury Beautiful Skin Foundation
    Charlotte Tilbury.
    Charlotte Tilbury Hollywood Contour Wand
    Charlotte Tilbury.
    Charlotte Tilbury Glowgasm Beauty Light Wand
    Charlotte Tilbury.
    Charlotte Tilbury Airbrush Flawless Finish Powder
    Charlotte Tilbury.
    Charlotte Tilbury Airbrush Flawless Setting Spray
    Charlotte Tilbury.

    Charlotte Tilbury Body

    Charlotte Tilbury Magic Body Cream
    Charlotte Tilbury.
    Charlotte Tilbury Supermodel Body
    Charlotte Tilbury.

    Charlotte Tilbury Brows

    Charlotte Tilbury Brow Lift
    Charlotte Tilbury.

    Charlotte Tilbury Eyes

    Charlotte Tilbury The Super Nudes Makeup Look
    Charlotte Tilbury.
    Charlotte Tilbury Eyes to Mesmerize in Champagne shade
    Charlotte Tilbury.
    Charlotte Tilbury Pillow Talk Push Up Lashes Mascara
    Charlotte Tilbury.

    Charlotte Tilbury Cheeks

    Charlotte Tilbury Matte Beauty Blush Wand in shade Pillow Talk Pink Pop
    Charlotte Tilbury.

    Charlotte Tilbury Highlighter

    Charlotte Tilbury Glowgasm Beauty Light Wand in shade Spotlight
    Charlotte Tilbury.

    Charlotte Tilbury Lips

    Charlotte Tilbury Lip Cheat in 90s Pink
    Charlotte Tilbury.

    Katie Decker-Jacoby

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  • America Ferrera Didn’t Win an Oscar, but Her Monologue Will Live on For Latinas

    America Ferrera Didn’t Win an Oscar, but Her Monologue Will Live on For Latinas

    There’s a reason why we’re still talking about America Ferrera’s “Barbie” monologue months after the blockbuster was released. While presenting the Best Supporting Actress award during the 2024 Oscars, Rita Moreno gave an emotional speech about Ferrera, who was nominated for her role of Gloria in the pink-filled film. While Ferrera didn’t wind up taking home an Oscar — the award instead went to Da’Vine Joy Randolph for her role in “The Holdovers” — Moreno’s speech left folks in the audience trying to understand why.

    “America. Your powerful Barbie monologue is perhaps the most talked-about moment in the most talked-about movie of the past year,” Moreno said. “Your words and the passion with which you delivered them about the most impossible standards females must try to live up to galvanized not only women but everyone with a pulse.”

    Even the way Moreno pronounced “America,” with a Spanish accent and in a sing-song-y voice referencing her iconic role in “West Side Story,” was powerful. It made the statement that women like Ferrera are just as American as anyone else living in this country.

    By now, many people have seen Gloria’s impactful speech in which she tells Margot Robbie’s Barbie the truth of what it means to be a woman. She breaks down all the impossible and contradicting expectations that are constantly placed on women.

    The moving monologue pulled at the audience’s heart strings because it put in plain terms what women have had to endure for centuries and in today’s still very patriarchal society. The fact that this speech was delivered by a Latina actress playing a Latina character made it resonate that much more for me. For any woman who holds intersectional identities, society’s impossible expectations become that much more impossible.

    As Latinas, we’re told we need to be thin regardless of if we’ve had children or not and regardless of any health issues we might have. But we also need to have big boobs, a big butt, and wide hips — hence why plastic surgery is so popular in our communities. We have to be strong but we also are expected to be submissive, especially with our partners. We’re told we need to lead and carry everyone from our spouses to our children, but if we pour into ourselves, we’re selfish. We’re supposed to be beautiful and sexy enough to make any man lust over us, but if we’re too sexy, we’re sluts and we deserve whatever disrespect men throw at us.

    While we still very much live in a patriarchal society, I am proud to be a Latina living in a time where we are finally encouraged to love ourselves and recognize that despite the unrealistic expectations that are constantly placed on us, we are in fact, enough. I am proud to be living at a time when women are finally throwing those oppressive expectations out the window and giving less f*cks about existing to please the male gaze. We are loving ourselves regardless of our body shape or size. We are embracing aging and recognizing our worth, even if that means being “boy sober” or refusing to allow the biological clock dictate our lives.

    Ferrera ends her powerful speech saying, “I’m just tired of watching myself and every single other woman tie herself into knots so that people will like us. And if all of that is also true for a doll representing women, then I don’t even know.”

    While the patriarchy has continued to exist since the “Barbie” movie came out and since Ferrera’s monologue went viral, I am proud of the impact it has had on so many girls and women. Sometimes all it takes is having our experiences explained right back at us for us to decide we’re no longer giving in to the pressure.

    Ferrera might not have taken home an award Sunday night, but like the true artist and changemaker she is, she left a mark with that speech that is already creating shifts in our culture. Her performance is just one step forward toward future generations of girls and women not having to experience the impossible expectations that have given us so much grief for centuries. That’s worth more than any Oscar in my book.

    https://www.youtube.com/watch?v=CBqlDWHkdHk

    Johanna Ferreira is the content director for POPSUGAR Juntos. With more than 10 years of experience, Johanna focuses on how intersectional identities are a central part of Latine culture. Previously, she spent close to three years as the deputy editor at HipLatina, and she has freelanced for numerous outlets including Refinery29, Oprah magazine, Allure, InStyle, and Well+Good. She has also moderated and spoken on numerous panels on Latine identity. .

    Johanna Ferreira

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  • Wes Anderson Shares Why He Was Unable to Accept His First-Ever Oscar in Person

    Wes Anderson Shares Why He Was Unable to Accept His First-Ever Oscar in Person

    In one of the biggest ironies of the 2024 Oscars, Wes Anderson—whose fans had been waiting for him to win an Oscar since The Royal Tenenbaums‘ nomination in 2001—won his first-ever Academy Award but was unable to accept it in person. While the auteur didn’t get a chance to give his acceptance speech onstage, Netflix shared his statement on his win.

    “If I could have been there, I (along with [producer] Steven Rales) would have said ‘Thank You’ to: the family of Roald Dahl; the team at Netflix; our cast and crew,” the filmmaker wrote.

    Anderson’s adaptation of Roald Dahl’s The Wonderful Story of Henry Sugar received the Academy Award for best live-action short film. Benedict Cumberbatch stars as the titular character, who develops clairvoyant abilities, allowing him to cheat at gambling.

    Anderson’s statement continued, “And also: if I had not met Owen Wilson in a corridor at the University of Texas between classes when I was 18 years old, I would certainly not be receiving this award tonight—but unfortunately Steven and I are in Germany and we start shooting our new movie early tomorrow morning, so I did not actually receive the award [in person] or get a chance to say any of that.”

    The film Anderson mentioned is reportedly The Phoenician Scheme, starring Benicio Del Toro, Michael Cera and Bill Murray. Roman Coppola is also credited as a co-writer. Last September, Anderson was awarded 1.5 million euros in funding from Germany to make the film.

    Tatiana Tenreyro

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  • ‘Absolutely incredible’: Nova Scotia’s Ben Proudfoot wins Oscar for short documentary  | Globalnews.ca

    ‘Absolutely incredible’: Nova Scotia’s Ben Proudfoot wins Oscar for short documentary | Globalnews.ca

    Halifax-born filmmaker Ben Proudfoot says it’s “hard to believe” he’s now a two-time Oscar winner.

    The 33-year-old and his co-director Kris Bowers won the best short documentary trophy for “The Last Repair Shop” at a star-studded ceremony Sunday that included a spirited performance of the “Barbie” power ballad “I’m Just Ken” by Canadian actor Ryan Gosling.

    “It feels absolutely incredible,” Proudfoot said on call from Los Angeles shortly after the win.

    “This is such a victory for arts and music education in Los Angeles and around the world. We are absolutely thrilled, and we are very hopeful that this will mark a new chapter for music education.”

    “The Last Repair Shop” tells the story of a Los Angeles workshop that offers free instruments, and free repairs, to public school students.

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    “L.A. is one of the last cities in America to give public school students free and freely repaired instruments. We need to fix that because musical education isn’t just about creating incredible musicians, it’s about creating incredible humans,” Bowers said during the acceptance speech.

    This marks Proudfoot’s second Oscar after winning a trophy in 2022 for the short doc “The Queen of Basketball,” about the late basketball trailblazer Lusia (Lucy) Harris.


    Breaking news from Canada and around the world
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    Breaking news from Canada and around the world
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    “I could never have imagined it,” Proudfoot said about winning another Academy Award.

    “But the films we make are really designed to lift up people and lift up perspectives that don’t get enough attention, and these awards represent a flood of stories that other people find important.”

    Story continues below advertisement

    Proudfoot and Bowers were joined on stage by Porche Brinker, an 11-year-old violinist who appears in the film.

    “Porche was over the moon. She was thrilled. It was an incredible moment out of my wildest dreams,” said Proudfoot.

    Proudfoot added that he and the film’s crew planned to celebrate at Vanity Fair’s Oscars after-party. He also planned to return to Halifax to celebrate in his hometown.

    “I’m coming back for a very large donair soon.”

    The evening also saw Gosling take the stage to perform the Oscar-nominated song “I’m Just Ken.”

    Story continues below advertisement

    Dressed in a hot pink suit and sunglasses, the Cornwall, Ont. native began the performance seated in the audience before hitting the stage, where he was joined by Mark Ronson, Guns N’ Roses guitarist Slash and a group of dancers who included fellow Canadian and “Barbie” co-star Simu Liu.

    Late Toronto musician Robbie Robertson and actor Matthew Perry were included in the In Memoriam segment honouring deceased stars.

    Other Canadians on hand included Catherine O’Hara and Brendan Fraser, who each presented awards.

    This report by The Canadian Press was first published March 10, 2024.

    &copy 2024 The Canadian Press

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  • Oscars 2024: What You Didn’t See on TV

    Oscars 2024: What You Didn’t See on TV

    Sure, many of the best moments of the Oscars 2024 made it on screen — Da‘Vine Joy Randolph’s emotional speech, Nicolas Cage’s tribute to Paul Giamatti, Scott Evans giving a peck on the cheek to fellow Ken Ryan Gosling. But at an event this star-studded, with so much at stake, there‘s always way more going on than any cameras can capture. But from the arrivals on the red carpet to the most intimate moments of the Vanity Fair Oscar party, we were on the cast. Reporting from the Oscars ceremony, David Canfield, Natalie Jarvey, Joy Press, and Kara Warner were our eyes and ears in the lobby, the auditorium, and backstage, while Nate Freeman captured the moment inside the Vanity Fair Oscar party. Ahead, a look back at the major moments you didn‘t see on TV. 

    Everybody Felt the Kenergy

    It’s possible that Ryan Gosling in a bedazzled pink suit will be the defining image of the 2024 Oscars, so let’s start there. Natalie spotted the black cowboy-hatted Kens in the lobby before the performance, and then watched the lobby bar get noticeably quiet once the performance began. In the auditorium it was wall-to-wall enthusiasm, with the lyrics to the song put up on giant screens so everyone, not just Greta Gerwig and Emma Stone, could sing along. Some even treated it like being at a concert, recording it on their phones – as if it was not being filmed for broadcast.

    The Kens line up. 

    By Natalie Jarvey

    When the performance was over, the Kens were all back in the lobby, even more enthusiastic than before. They gathered in a circle to celebrate, jumping up and down and chanting “Ken! Ken! Ken!”

    Thanks to Francesca Scorsese, we know that Martin Scorsese also approved. 

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    A Poor Things Sweep at the Bar

    Image may contain Clothing Dress Formal Wear Suit Footwear Shoe Fashion Gown Wedding Wedding Gown Face and Head

    By Natalie Jarvey

    As in so many years past, the lobby bar was the place to do some serious people-watching, and Joy caught a particularly dramatic moment. Emma Stone was catching up with Kirsten Dunst in the lobby when Poor Things began its winning streak, taking home the awards for makeup and hair, production design, and costume design in quick succession. Stone shouted “oh my god!” and streaked across the lobby to watch it unfold on a monitor, with a happy but stricken expression on her face. For one victory she jumped up and down and screamed in excitement, then turned around to apologize to those behind her.

    There was yet another source of excitement throughout all of that: Stone and Florence Pugh were watching together and were just as thrilled by John Cena’s streaker bit as the rest of us.

    John Cena’s Quick Change

    Cena really did have nothing but a small modesty garment on for his presentation of the best costume design nominees, but thanks to a remarkable quick-change he was outfitted in a curtain by the time he announced the name of winner Holly Waddington. 

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    Christopher Nolan’s Bicep Curls

    There was a steady trickle of winners in the press room backstage all night, but few were as loaded down with hardware as Oppenheimer director Christopher Nolan, who joked that now that he has two Oscars he can do bicep curls — and then proceeded to do them. At 8 pounds apiece, that’s a decent-sized weight to lift after a long night!

    Emma Stone Gets Sewn Up

    Speaking of “I’m Just Ken” — Stone blamed her busted dress on that performance when she took the stage to accept her best actress Oscar, and stuck by it when she arrived in the press room backstage. By then, thank goodness, her dress had been repaired. “When I came back, they sewed me back in, which was wonderful,” she told reporters. “I genuinely do think I did it during ‘I’m Just Ken.’ I just was so amazed by Ryan and what he was doing, and that number just blew my mind and I was right there and I just was going for it and things happen.

    Da’Vine Joy Randolph’s Emotional Reflection

    The Holdovers star gave the first speech of the night, and quite possibly the most emotional. Backstage she elaborated on what she said in her speech about learning to simply be herself. “When I looked at this show for many years as I was growing up, I didn’t necessarily see myself there yet,” she told the press. “So I was on this journey of trying to figure out how I could mold myself to that, because I thought that’s what success would mean. And what I have begun to find in my journey is, and being myself and doing the work and staying focused and driven and clear, I could do exactly the same thing whilst being myself.

    Godzilla Stomps In

    In the early hours of the red carpet it was the Godzilla Minus One team, eventually the winners for best visual effects, at the center of attention, decked out in Godzilla-inspired gear from head to literal toes.

    Katey Rich

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  • ITV’s Oscars Broadcast Brings In Peak Audience of Almost 2 Million

    ITV’s Oscars Broadcast Brings In Peak Audience of Almost 2 Million

    ITV took a gamble when they snatched the U.K. broadcast rights to the Oscars away from Sky after two decades and it looks like the gamble paid off.

    The three-hour plus show averaged 637,000 viewers on Sunday evening, according to Broadcast, equivalent to 14.9% of the audience. At its peak, around 10.30pm, 1.9 million were watching, (21%).

    Last year’s show on Sky averaged 95,000 viewers while a highlights cut the following evening garnered 141,000.

    ITV1 are set to air highlights of the show on Monday evening while the full simulcast is still available to watch on streaming platform ITVX.

    The Oscars has always been a tricky proposition in the U.K., in large part due to the eight-hour time difference between L.A. and the U.K, meaning viewers who want to sit through the entire ceremony usually need to stay up until the early hours of Monday morning. This year’s show took place an hour earlier than usual and also benefited from the U.S. daylight savings time being out of sync with the U.K.’s (in the U.K. clocks will go forward on March 31), meaning the ceremony aired in a marginally more civilized 11 p.m.-2.30 a.m slot across the pond.

    ITV went big in its inaugural Oscars year, offering viewers a wrap-around show starting at 10.15 p.m. and ending at 2.30 a.m, hosted by Jonathan Ross (who was joined by guests including “The Hobbit” star Richard Armitage and “Cold Feet” actor Faye Ripley) as well as behind-the-scenes content on its proprietary streaming platform ITVX. In the run-up to the ceremony the streamer also offered a host of Oscar-winning and -nominated movies from previous years as well as broadcasting the nominations ceremony in January.

    Although ITV declined to confirm how much they paid Disney for the multi-year broadcast rights, ITVX managing editor Craig Morris told Variety before the show: “Increasingly, people don’t just want to know what money you’re prepared to pay — it’s part of the discussion, obviously — I think they want to know, “What are you going to do with this?” I’m sure what was attractive was we’ve got a big home for it across streaming and linear. They obviously wanted to know what we wanted to do, but we were full of ideas.”

    ITV will be releasing their own audience numbers, including streaming figures, later this week.

    K.J. Yossman

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  • Al Pacino awkwardly skips reading nominees while presenting Best Picture award to ‘Oppenheimer’

    Al Pacino awkwardly skips reading nominees while presenting Best Picture award to ‘Oppenheimer’

    LOS ANGELES — All eyes were on “Oppenheimer,” directed by Christopher Nolan and starring Cillian Murphy, Robert Downey Jr. and Emily Blunt, at the Oscars on Sunday. The film dominated throughout awards season.

    Now, it’s been named Best Picture at the 2024 Academy Awards.

    The top prize of the night was presented by “The Godfather” star Al Pacino – who seemingly jumped the gun by announcing the winner before listing the nominees.

    Al Pacino presents the award for best picture during the Oscars on Sunday, March 10, 2024, at the Dolby Theatre in Los Angeles.

    AP Photo/Chris Pizzello

    SEE ALSO: ‘Oppenheimer’ wins 7 Oscars, including Best Picture; Christopher Nolan, Cillian Murphy get statues

    Rather than listing all 10 nominees while presenting the best picture Oscar, or offering an “And the Oscar goes to,” Pacino said “Here it comes” before slowly opening the envelope.

    “And my eyes see ‘Oppenheimer,’” Pacino said, before the camera quickly panned to the winners in the audience.

    “Oppenheimer” closed out the night with an Academy Award win in the Best Picture category during the 2024 Oscars.

    People were, of course, quick to take to social media to comment about the bizarre announcement from Pacino but admitted it did make for a hilarious way to end the ceremony.

    “Oppenheimer” won seven Oscars Sunday night, including Best Picture, Best Director, Best Actor and Best Supporting Actor. It also won for Best Film Editing and Best Cinematography. Ludwig Göransson also took home the Oscar for Best Original Score.

    It was the first Oscar win for Murphy, Downey and Nolan.

    The film earned a leading 13 nominations and has earned nearly $1 billion worldwide.

    Now that all the Academy Awards have been handed out, it’s time to party!

    Watch “Live With Kelly and Mark: After the Oscars,” live from the Oscars stage at the Dolby Theatre in Hollywood on Monday at 9 a.m.

    Copyright © 2024 OnTheRedCarpet.com. All Rights Reserved.

    OTRC

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  • Emily Blunt’s Stylist Explains Her Dress’s Floating Shoulders at the Oscars 2024

    Emily Blunt’s Stylist Explains Her Dress’s Floating Shoulders at the Oscars 2024

    There’s no question that, fashion-wise, clavicles were the stars of the show on the Oscars 2024 red carpet on Sunday, where strapless silhouettes ruled the night. One of the most talked-about ensembles of the night also didn’t benefit from the support of straps, because they were floating inches above best supporting actress nominee Emily Blunt’s shoulders.

    Blunt may not have won her category, but she made our best-dressed list of the night for her beaded champagne-color Schiaparelli gown with floating shoulders and an eye-catching midsection embellishment, a passel of Tiffany & Co. platinum necklaces with more than 100 carats of diamonds, and 6-carat diamond earrings. Stylist Jessica Paster, who has worked with Blunt for 18 years, told Vanity Fair that the final gown decision was made from three contenders after a last try-on on Sunday morning.

    “I think when you decide what you want to wear, I think something happens,” she said. “It depends on your mood. One was colorful, one was diaphanous, one was white, and there was this little girl.”

    And, as she called the embellishment on the dress, which she said the design house has now renamed “The Emily” in Blunt’s honor, “the little underwear.” She knew this one would be talked about, and that’s fine with her.

    By Kevin Mazur/Getty Images.

    “Sometimes we don’t play it safe. At this point of years of being with Emily, we can go have fun with fashion,” she said. “Did I know that people were going to talk about the shoulder? Absolutely. Do I care what anybody else has to say? Absolutely not. Me? I think that people that know fashion, like fashion, like things that are interesting, were going to like it and I know the people that like some things that are very classic were not going to like it. At the end of the day, she looked absolutely beautiful. It was such a beautiful dress.”

    As for that much-talked-about floating shoulder element, Paster predicts that we’ll be seeing more of it in the future. She did admit, however, that she was shocked to see another gravity-defying shoulder strap detail on Blunt’s Oppenheimer co-star Florence Pugh’s own silver Del Core look on the carpet.

    “I thought [Blunt] was gonna be the first one to wear it … and then I saw that the beautiful Florence Pugh also had a very similar shoulder,” she said.

    Image may contain Florence Pugh Blonde Hair Person Adult Face Happy Head and Smile

    Jeff Kravitz

    Kase Wickman

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  • The Winners and Losers of the 2024 Oscars

    The Winners and Losers of the 2024 Oscars

    The 2024 Academy Awards are in the books, which means we’ve finally reached the end of awards season. (That sound you hear is countless pop culture bloggers breathing a collective sigh of relief.) While there weren’t too many surprises during the show, the Oscars did what it does best: celebrate some of the best movies of the year, while giving a generational filmmaker his worthy coronation on Hollywood’s biggest night. Below, we break down the biggest winners and losers from Sunday’s festivities.

    Winner: The Oscars

    The Academy may not want to consider itself to be in crisis mode, but the Oscars haven’t been in the best place lately: the ratings continue to be in a freefall, and the most memorable moments of the past decade happen to involve an infamous Best Picture envelope mishap and Will Smith slapping Chris Rock in the face. But even though most of the awards on Sunday night had predictable outcomes, the Oscars managed to be something the ceremony has sorely lacked: fun.

    Ryan Gosling blew the roof off the Dolby Theatre with his lively rendition of “I’m Just Ken”; a naked John Cena realized we can see him (more on that shortly); the acting categories tried something different by having former Oscar winners give stirring tributes to each nominee. These moments and more contributed to the Oscars accomplishing what it should strive to do each year: celebrating the power of cinema with humor and heart.

    Winner: The Christopher Nolan Victory Lap

    Sometimes, the Oscars take a while to anoint an artist with a long-overdue statuette. After delivering masterpieces like Raging Bull and Goodfellas, it took until The Departed for Martin Scorsese to finally win an Oscar; Leonardo DiCaprio, meanwhile, had to eat raw bison liver in The Revenant to receive the Oscar he had long been craving. In that spirit, the 2024 Academy Awards will forever be known as the Christopher Nolan Oscars, with Oppenheimer taking home seven awards, including Best Picture and Best Director. But what’s so thrilling about Nolan’s coronation on the Oscars stage is that it’s a result of what may be the best film of the director’s distinguished career: a three-hour biopic that captivated moviegoers around the world and made nearly a billion dollars in the process.

    Also exciting: Nolan is 53, which in filmmaking terms—health permitting—means he’s got decades ahead of him to outdo what he achieved in Oppenheimer. Perhaps this won’t be the last time we see Nolan going on stage to accept an Oscar or two; we live in a twilight world, after all.

    Loser: Barbie

    For anyone who felt like Barbie was already dismissed by the Academy, which failed to nominate Greta Gerwig and Margot Robbie for Best Director and Best Actress, respectively, the Oscars did little to dispel that notion. Despite being up for eight awards, Barbie only managed a single win, for Best Original Song, courtesy of Billie Eilish and Finneas O’Connell’s “What Was I Made For?” (One bit of good news: by winning, the 22-year-old Eilish and 26-year-old O’Connell became the youngest people in history to win two Oscars.)

    While Barbie was an outsider for Best Picture, it stood a much better chance of making some headway for Best Costume Design and Best Production Design. In both of these categories, though, Barbie lost out to Poor Things, which, as many people have noted, feels like a bizarro version of Barbie itself by way of Frankenstein’s Monster. It was a night to forget for Barbie, but that should be of little consequence. After all, Barbie was the highest-grossing movie of 2023: to paraphrase its Oscar-winning song, that’s what it was made for.

    Loser, Somehow: Killers of the Flower Moon

    Martin Scorsese has a long and storied history at the Oscars, and unfortunately, he’s often been on the losing end of things: both Gangs of New York and The Irishman had the honor of being nominated for 10 Oscars—and the ignominy of winning zero of them. Now, sadly, we can add Killers of the Flower Moon to that list, and like Scorsese’s previous epics, it deserved much better.

    There are two categories, in particular, where Killers of the Flower Moon should feel hard done by. For one, there was a time when Lily Gladstone seemed like a lock to win Best Actress: not only was her portrayal of Mollie Burkhart the soul of the film, but she would’ve become the first Native American to win an acting Oscar. Alas, the award went to Poor Things star Emma Stone, who looks like she’s living out the second season of The Curse in real time. And while Ludwig Goransson was widely tapped to win Best Original Score for his work in Oppenheimer, spare a thought for the late Robbie Robertson, whose music made a memorable imprint on Killers of the Flower Moon. All told, Scorsese’s latest masterpiece deserved better from the Academy; here’s hoping he has more luck with his adaptation of The Wager.

    Winner: Cord Jefferson

    In the past five years alone, American Fiction writer-director Cord Jefferson has put together an impressive body of work, writing episodes of The Good Place, Station Eleven, and HBO’s Watchmen miniseries, the latter of which won him an Emmy. (He was also a consultant on Succession, which just so happens to be one of the best shows of its era.) Now, Jefferson can add a Best Adapted Screenplay Oscar to his resume—in his directorial debut, no less—punctuated by a charming acceptance speech imploring Hollywood to make more $20 million movies instead of placing all their bets on one $200 million blockbuster.

    Also, I’m gonna go out on a limb and say Jefferson became the first person to win an Oscar who used to be an editor at Gawker (RIP). It’s been a brutal few months in digital media; Cord’s Oscar win is a win for journos everywhere.

    Winner: John Cena’s … Bits

    To commemorate (?) the 50th anniversary of the time a streaker ran across the stage during the 46th Academy Awards, John Cena briefly appeared naked on stage to present Best Costume Design. Poor Things ended up winning the Oscar, but that’s not what viewers are going to remember. Yes, that was an (absolutely shredded) WWE star actually waltzing on stage with just an envelope covering his crotch. There’s a universe in which this bit about Cena’s, ahem, bits, failed spectacularly, but if Dave Bautista is the WWE-turned-actor GOAT, Cena is far and away the funniest performer who started out in professional wrestling. The fact that this moment didn’t fall flat is a testament to Cena’s gifts for physical comedy. (Also, shout-out to that quick wardrobe change.) Hollywood, keep putting John Cena in comedies—just make them better than Ricky Stanicky.

    Impossible to Categorize: Al Pacino Announcing Best Picture

    The Academy brought out some legends of cinema throughout the evening—none other than Steven Spielberg handed Nolan his Best Director Oscar—but the ceremony saved the best for last. Al Pacino was on hand to present Best Picture, and he was rightly given a standing ovation by the attendees when he came on stage. Even among A-listers, the living legend who starred in the Godfather trilogy, Serpico, Heat, Dog Day Afternoon, Scent of a Woman, and so many more classics is in a league of his own.

    But as has been proved throughout his iconic career, Pacino also marches to the beat of his own drum: You never know what he’s going to do, or how he’s going to enunciate a line of dialogue. (“She’s got a GREAT ASS” lives in my head rent-free.) And after all the anticipation for the final award of the night, Best Picture, my guy anticlimactically opened the envelope, looked inside, and said, “My eyes see Oppenheimer?”

    Yes, Al Pacino turned his Best Picture announcement into a question with all the energy of someone who was brought on stage without any advance warning. Give him an Oscar for this performance, and let him announce every category next year.

    Loser: Messi’s Haters

    For anyone who watched Anatomy of a Fall, the true star of the film is Messi, the family dog who was integral to the plot—all the way down to the final verdict in the courtroom. Messi genuinely delivered what might be the best performance a dog has ever given on-screen, and he was given the A-list treatment throughout awards season, giving “interviews” on red carpets and appearing at official Oscars functions. Incredibly, some awards strategists were pissed about Messi stealing the limelight in the lead-up to the Oscars, fearing that this good boy would sway Academy members to give their vote to Anatomy of a Fall, and there were even reports that he wouldn’t attend the ceremony. Well, suck it, haters: not only was Messi in attendance, he was applauding during the show and peed on Matt Damon’s star on the Hollywood Walk of Fame.

    Is Messi the reason that Anatomy of a Fall ended up winning Best Original Screenplay? Who’s to say, but between the dog and the soccer player he’s named after, it’s safe to say that America has Messi Fever.

    Miles Surrey

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  • ‘Barbie’ ballad ‘What Was I Made For?’ makes Billie Eilish the youngest person to win 2 Oscars

    ‘Barbie’ ballad ‘What Was I Made For?’ makes Billie Eilish the youngest person to win 2 Oscars

    What were Billie Eilish and Finneas O’Connell made for? Winning awards, apparently. The sibling duo’s “Barbie” blockbuster ballad “What Was I Made For?” won the Academy Award for Best Original Song on Sunday night.In doing so, Eilish, 22, has become the youngest person by far to have won two career Oscars.That beats a very old record set by Luise Rainer, who won her second Best Actress Oscar at 28 in 1938.The second youngest is now Eilish’s 26-year-old brother and co-writer Finneas. The pair won their first Oscar for “No Time to Die” in 2021.Hilary Swank and Jodie Foster — a Best Supporting Actress nominee this year — are the only others to win two before 30.”Thank you so much to the Academy. I feel like, I just didn’t think this would happen,” Eilish started her speech. “I’m so grateful for this song and for this movie and the way that it made me feel. And this goes out to everyone who was affected by the movie and how incredible it is. And I want to thank my team and my parents. I love you guys so much.”She continued, “I want to thank my best friend Zoe for playing Barbies with me growing up, and being by my side forever,” and was met with laughs from the audience. “I want to thank my, like, dance teachers growing up. I want to thank my choir teachers. Miss Brigham, thanks for believing in me. Mrs. T, you didn’t like me, but you were good at your job.”Eilish and Finneas beat out another “Barbie” cut, “I’m Just Ken,” as performed by Ryan Gosling and written by “Barbie the Album” executive producer Mark Ronson and his creative partner Andrew Wyatt. Jon Batiste and Dan Wilson’s “It Never Went Away” from “American Symphony,” Diane Warren’s “The Fire Inside” from “Flamin’ Hot” and Scott George’s “Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon” rounded out the category.Eilish and O’Connell are no strangers to the Oscar stage. In fact, they’re now two for two. Previously, they took home the trophy for their James Bond theme, “No Time to Die,” in 2021. That year, they beat out some impressive names, including Beyoncé, Van Morrison, Lin-Manuel Miranda and once again, Warren.In the months leading up to the Academy Awards, “What Was I Made For?” has raked in numerous trophies: In 2024 alone, they’ve won a Golden Globe for Best Original Song and two Grammys. Not bad for a song written about an 11.5-inch-tall plastic doll.”What Was I Made For?” debuted at No. 34 on the U.S. Billboard Hot 100 chart, eventually peaking at No. 14.In the “Barbie” film, “What Was I Made For?” plays a key role — an instrumental version of the song pops up like a leitmotif, soundtracking introspective, existential moments for its protagonist. Eilish’s voice isn’t heard until the final scene, but at that point, the audience is well-prepared for its emotional impact.Clearly, the duo excels at making music for movies. Before “Barbie” and Bond, three songs they wrote made it on Disney’s “Turning Red” soundtrack, pulling heavily from the likes of (asterisk)NSYNC and the Backstreet Boys.In another music category, Ludwig Göransson won the Academy Award for original score for his work on “Oppenheimer.” It is his second Oscar and third nomination, having previously won in the category in 2019 for “Black Panther.”In doing so, Göransson beat John Williams (“Indiana Jones and the Dial of Destiny”) and three first-time nominees, Jerskin Fendrix (“Poor Things”), Laura Karpman (“American Fiction”) and the late Robbie Robertson (“Killers of the Flower Moon”).”Oppenheimer” is director Christopher Nolan’s own adaptation of Martin J. Sherwin and Kai Bird’s Pulitzer Prize-winning 2005 book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” chronicling the Manhattan Project and its fallout.”Christopher Nolan, it was your idea to use violin in the score, and it allowed me to work and collaborate with my wonderful wife and acclaimed violinist Serena Göransson. We (were) recording at night and we were rushing to go home to put our kids, Apollo, Romeo, to bed. But the result of that was amazing,” he said in his speech.”And to my parents up there, thank you for giving me guitars and drum machines instead of video games. Thank you,” he concluded.The film starring Cillian Murphy “is poised between the shock and aftershock of the terrible revelation, as one character calls it, of a divine power,” AP film writer Jake Coyle assessed in his review. Naturally, the score accomplishes something similar: Göransson composing from a first-person perspective for the first time, using his characteristic plays with rhythm and tempo to make one man’s history-altering endeavors feel larger than life.”To be recognized on this score especially, it was a very personal score,” Göransson told The Associated Press when the nominations were announced in January. “It was also obviously extremely challenging to achieve these emotions and to tell the story of this complicated man’s feelings, his ambition and what he’s going through in his journey and from his perspective because the only way to do that is, I’ve had to go to some to some uncomfortable places.”He added that “the way that Chris Nolan uses music in his storytelling is so unique and special and inspiring.””So, give all the music awards to Nolan and his collaborators,” he said. “I’m just very grateful to be working with him, and this is our second film together.”Their first film together was the 2020 time-bending thriller “Tenet.”

    What were Billie Eilish and Finneas O’Connell made for? Winning awards, apparently. The sibling duo’s “Barbie” blockbuster ballad “What Was I Made For?” won the Academy Award for Best Original Song on Sunday night.

    In doing so, Eilish, 22, has become the youngest person by far to have won two career Oscars.

    That beats a very old record set by Luise Rainer, who won her second Best Actress Oscar at 28 in 1938.

    The second youngest is now Eilish’s 26-year-old brother and co-writer Finneas. The pair won their first Oscar for “No Time to Die” in 2021.

    Hilary Swank and Jodie Foster — a Best Supporting Actress nominee this year — are the only others to win two before 30.

    “Thank you so much to the Academy. I feel like, I just didn’t think this would happen,” Eilish started her speech. “I’m so grateful for this song and for this movie and the way that it made me feel. And this goes out to everyone who was affected by the movie and how incredible it is. And I want to thank my team and my parents. I love you guys so much.”

    She continued, “I want to thank my best friend Zoe for playing Barbies with me growing up, and being by my side forever,” and was met with laughs from the audience. “I want to thank my, like, dance teachers growing up. I want to thank my choir teachers. Miss Brigham, thanks for believing in me. Mrs. T, you didn’t like me, but you were good at your job.”

    Eilish and Finneas beat out another “Barbie” cut, “I’m Just Ken,” as performed by Ryan Gosling and written by “Barbie the Album” executive producer Mark Ronson and his creative partner Andrew Wyatt. Jon Batiste and Dan Wilson’s “It Never Went Away” from “American Symphony,” Diane Warren’s “The Fire Inside” from “Flamin’ Hot” and Scott George’s “Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon” rounded out the category.

    Eilish and O’Connell are no strangers to the Oscar stage. In fact, they’re now two for two. Previously, they took home the trophy for their James Bond theme, “No Time to Die,” in 2021. That year, they beat out some impressive names, including Beyoncé, Van Morrison, Lin-Manuel Miranda and once again, Warren.

    In the months leading up to the Academy Awards, “What Was I Made For?” has raked in numerous trophies: In 2024 alone, they’ve won a Golden Globe for Best Original Song and two Grammys. Not bad for a song written about an 11.5-inch-tall plastic doll.

    “What Was I Made For?” debuted at No. 34 on the U.S. Billboard Hot 100 chart, eventually peaking at No. 14.

    In the “Barbie” film, “What Was I Made For?” plays a key role — an instrumental version of the song pops up like a leitmotif, soundtracking introspective, existential moments for its protagonist. Eilish’s voice isn’t heard until the final scene, but at that point, the audience is well-prepared for its emotional impact.

    Clearly, the duo excels at making music for movies. Before “Barbie” and Bond, three songs they wrote made it on Disney’s “Turning Red” soundtrack, pulling heavily from the likes of (asterisk)NSYNC and the Backstreet Boys.

    In another music category, Ludwig Göransson won the Academy Award for original score for his work on “Oppenheimer.” It is his second Oscar and third nomination, having previously won in the category in 2019 for “Black Panther.”

    In doing so, Göransson beat John Williams (“Indiana Jones and the Dial of Destiny”) and three first-time nominees, Jerskin Fendrix (“Poor Things”), Laura Karpman (“American Fiction”) and the late Robbie Robertson (“Killers of the Flower Moon”).

    “Oppenheimer” is director Christopher Nolan’s own adaptation of Martin J. Sherwin and Kai Bird’s Pulitzer Prize-winning 2005 book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer,” chronicling the Manhattan Project and its fallout.

    “Christopher Nolan, it was your idea to use violin in the score, and it allowed me to work and collaborate with my wonderful wife and acclaimed violinist Serena Göransson. We (were) recording at night and we were rushing to go home to put our kids, Apollo, Romeo, to bed. But the result of that was amazing,” he said in his speech.

    “And to my parents up there, thank you for giving me guitars and drum machines instead of video games. Thank you,” he concluded.

    The film starring Cillian Murphy “is poised between the shock and aftershock of the terrible revelation, as one character calls it, of a divine power,” AP film writer Jake Coyle assessed in his review. Naturally, the score accomplishes something similar: Göransson composing from a first-person perspective for the first time, using his characteristic plays with rhythm and tempo to make one man’s history-altering endeavors feel larger than life.

    “To be recognized on this score especially, it was a very personal score,” Göransson told The Associated Press when the nominations were announced in January. “It was also obviously extremely challenging to achieve these emotions and to tell the story of this complicated man’s feelings, his ambition and what he’s going through in his journey and from his perspective because the only way to do that is, I’ve had to go to some to some uncomfortable places.”

    He added that “the way that Chris Nolan uses music in his storytelling is so unique and special and inspiring.”

    “So, give all the music awards to Nolan and his collaborators,” he said. “I’m just very grateful to be working with him, and this is our second film together.”

    Their first film together was the 2020 time-bending thriller “Tenet.”

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